An appetiser for our high-quality Urtext opera vocal scores give it a try and enjoy!This collection of opera arias for Soprano (or Mezzo-Soprano) and Piano offers a cross-section of BĂ€renreiter?s extensive catalogue of stage works.An affordable anthology with such well-known and favourite arias as Handel?s famous ?Ombra mai fu? and Mozart?s ?Ach ich fĂŒhl?s es ist verschwunden!? is not only suited for voice students and aspiring singers preparing for examinations and auditions but also provides seasoned professionals with inspiration and material for programming their recitals.The collection spans a representative arch from the earlybaroque to the romantic era gathering together repertoire masterpieces by Monteverdi Handel Gluck Haydn Mozart Beethoven Berlioz Smetana and Chabrier. The pieces are in Italian French Czech and German and include for the most part a singable translation in German. The spectrum ranges from the declamatory style to easy coloratura. The Piano arrangements have been prepared by experienced conductors and rĂ©pĂ©titeurs.A BĂ€renreiter anthology for opera singersContains important arias from the opera repertoire for (Mezzo-)Soprano

Antonin Dvorak's Rusalka's Song To The Moon for Soprano and Piano accompaniment as arranged by Karel Solc.

Operatic Arias - Vol. 2-J-P. Rameau's Dessus/Operatic Arias: Soprano Volume 2 BA 9192. This volume contains the lyric Soprano parts for the main characters from the operas Les Indes galantes (Émile Zinna) / Io (Io) / NaĂŻs (NaĂŻs) / La Naissance d’Osiris (Pamille) / Les Paladins (Argie) / Les Surprises de l’amour (Adonis ParthĂ©nope) / ZaĂŻs (ZĂ©lidie) / ZĂ©phyre (ZĂ©phyre) / Zoroastre (ÁmĂ©lite). Detailed historical introduction (Fr/Eng) Idiomatic Piano reduction arrangements based on the OperaOmnia Rameau Each piece is introduced by a prĂ©cis of the dramatic situation and an English translation of the Vocal text Co-edited by the Centre de musique baroque de Versailles and the SociĂ©tĂ© Jean-Philippe Rameau Distributed exclusively by BĂ€renreiter

Cantata for the 15th Sunday after Trinity-Jauchzet Gott In Allen Landen - Praise Ye God Throughout Creation BWV 51.Cantata for the 15th Sunday after Trinity. The solo cantata “Jauchzet Gott In Allen Landen” written around 1730 for the 15th Sunday after Trinity is one of Bach’s best-known cantatas. The scoring for solo Soprano Trumpet Strings and Continuo is unique amongst Bach’s cantatas and has parallels with Italian composers of the period. The enduring popularity of the work is due to the clear and succinct formal structure and not least to the virtuoso Trumpet part and Soprano arias in which the soloists can demonstrate their totalmastery. The cantata is published in a Vocal score based on the “New Bach Edition” with an idiomatic straightforward Piano reduction by Martin Focke. - Famous work with a festive instrumental sound. - Urtext based on the “New Bach Edition”. - Clear straightforward Piano reduction. - Study score (TP1051) performance material (BA10051) & Vocal score (BA10051-90) available for sale.

Edited with additional material from the Salzburg version“In Italy nowadays this term (motet) is applied to a Latin sacred solo cantata consisting of two arias and two recitatives concluding with an Hallelujah and sung during the Mass following the Credo generally by one of the best singers.” One composition matching this description is the solo motet Exsultate jubilate K. 165/158a which Mozart wrote in Milan early in 1773 following the highly successful performance of his opera Lucio Silla.In 1978 when the music manuscripts in Bavaria were being sorted and cataloged in a project sponsored by the Deutsche Forschungsgemeinschaft a set ofmanuscript parts for a previously unknown second version was discovered in the town parish church of St. Jakob in Wasserburg am Inn. The music and text of the concluding Alleluja movement were written out by the Salzburg court bassoonist and copyist Joseph Richard Estlinger (c. 1720–1791) who frequently worked for Mozart and his father.The vocal text of this Salzburg manuscript departs from that of the Milan version in the first aria and in the recitative. It was entered in a different hand. The Salzburg version of the text is clearly related to the feast of the Holy Trinity. There is much evidence that this version was sung for the first time in the Dreifaltigkeitskirche on 30 May 1779 (i. e. Trinity Sunday) by the Salzburg male soprano Francesco Ceccarelli during a service mentioned by Nannerl Mozart. On that day Leopold and Wolfgang Mozart together with Ceccarelli were invited to the church’s vicarage at midday. The additional text underlaying of the first aria enabled the solo motet to be employed for the Christmas service as well.- Urtext of the New Mozart Edition- Full score performance material (BA4897) and vocal score (BA4897-90) available for sale