Three Vocal Icons

Three Vocal Icons

Three timeless arias. One intimate voice & guitar setting.

Three Vocal Icons brings together three of the most recognizable melodies in vocal repertoire, reimagined for voice and guitar in refined, concert-ready arrangements.

This curated collection explores three contrasting emotional worlds:

the dramatic fire of opera, the inward stillness of sacred music, and the lyrical intimacy of the Romantic aria. Each arrangement is crafted to respect the original vocal line while allowing the guitar to speak as an equal musical partner — not merely accompaniment, but dialogue.

Included works:

• Habanera (Carmen) — Georges Bizet
• Panis Angelicus — César Franck
• O mio babbino caro (Gianni Schicchi) — Giacomo Puccini

About the arrangements:

Originally conceived with piano or orchestra, these iconic pieces are reshaped here into transparent, idiomatic guitar textures that breathe with the singer. The guitar part mirrors, answers, and supports the vocal line, creating a chamber-music atmosphere well suited for recitals, sacred spaces, and intimate concert settings.

The collection is ideal for singers and guitarists seeking repertoire that is both familiar and freshly reimagined — music that invites close listening rather than spectacle.

Details:

• Arrangement for voice and classical guitar
• Suitable for concerts, recitals, and liturgical contexts
• Intermediate to advanced level
• Carefully edited and performance-tested

Habanera

This arrangement of Georges Bizet’s “Habanera” from Carmen is written for voice and guitar, offering an elegant chamber version of the famous aria. The guitar uses scordatura (6th string tuned to D) to enhance the depth and rhythmic feel of the accompaniment.

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  Panis Angelicus

César Franck’s Panis Angelicus (1872) is one of the most beloved sacred works of the Romantic era—originally composed as part of his Messe à trois voix. Its serene melody and radiant harmonies quickly transcended the liturgy and became a favourite choice for ceremonies, concerts, and sacred celebrations around the world.

This arrangement has a personal history: it waited nearly twenty years before being published. My wife, a professional singer, and I performed it for many years at weddings, masses, baptisms, confirmations, and other meaningful occasions. Over time, the piece naturally evolved into the version you see here.

For better playability, I use scordatura on the two lowest strings, which opens up warmer resonances and smoother voicing. In the second section, the guitar moves into a tremolo texture—not just as a virtuosic effect, but because it allows the guitar to gently echo the vocal line one bar later, creating a soft, flowing musical response.

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O mio babbino caro

Giacomo Puccini (1858 – 1924) was an Italian composer, one of the leading exponents of realistic verismo style, known primarily for his operas. Regarded as the greatest and most successful proponent of Italian opera after Verdi.

His most renowned works are La Bohema, Tosca, Madama Butterfly, and Turandot, all of which are among the most frequently performed and recorded of all operas.

"O mio babbino caro belongs among my most beloved pieces. In this arrangement, I once again use scordatura of the two lowest strings, allowing the guitar to resonate with greater depth and breadth. The altered tuning opens up warm harmonic colours that would be difficult to achieve in standard tuning.

While this arrangement is not among the easiest to play, a bit of patience and careful practice reveals a truly rewarding musical experience. When the layers finally come together, the result is a small jewel — intimate, resonant, and deeply expressive."

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