O Mio Babbini Caro for Bb Trumpet & Piano

By: Giacomo Puccini
For: Solo Trumpet in Bb + piano
page one of O Mio Babbini Caro for Bb Trumpet & Piano

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Composer
Giacomo Puccini
Year of composition
1918
Arranger
Year of arrangement
2011
Difficulty
Difficult (Grades 7+)
Duration
2 minutes
Genre
Classical music
License details
For anything not permitted by the above licence then you should contact the publisher first to obtain permission.

O Mio Babbino Caro arranged for Bb Trumpet & Piano.

"O mio babbino caro" ("Oh My Dear Papa") is a soprano aria from the opera Gianni Schicchi (1918), by Giacomo Puccini, to a libretto by Giovacchino Forzano. It is sung by Lauretta after tensions between Schicchi and his prospective in-laws have reached a breaking point that threatens to separate her from Rinuccio, the boy she loves. It provides a contrasting interlude expressing lyrical simplicity and single-hearted love in the atmosphere of hypocrisy, jealousy, double-dealing and feuding in medieval Florence of Puccini’s only comedy, and it provides the only set-piece in the through-composed opera.

Florence Easton as Lauretta at the world premiere of Gianni Schicchi, 14 December 1918.The aria was first performed by the popular Victorian English soprano Florence Easton (premiere 14 December 1918). It has been sung subsequently by many sopranos such as Frances Alda, Victoria de los Angeles, Kathleen Battle, Montserrat Caballé, Maria Callas, Renée Fleming, Angela Gheorghiu, Dame Joan Hammond (who won a Gold Record in 1969 for 1 million sold copies of this aria),Dame Malvina Major, Carmen Monarcha, Anna Netrebko, Leontyne Price, Patricia Racette, Dame Elisabeth Schwarzkopf, Dame Kiri Te Kanawa, and Renata Tebaldi.

The short aria consists of 32 bars and takes between 2 1/2 and three minutes to perform; it is written in A-flat major with the time signature of 6/8 and a tempo indication of andantino (=120). The vocal range extends from E-flat4 to A-flat5 with a tessitura of F4 to A-flat5. The 5-bar orchestral prelude consists of octave tremolos by the strings, but many recital arrangements start with a presentation of the melodic theme; the remaining accompaniment uses strings and a harp playing broken chords.

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