Par CURTIS MIKE. / Classique / Date parution : 1905-06-24/ Feuillet / Chant et Piano

This contemporary setting of the Steven Curtis Chapman song proclaims the good news of the coming of Emmanuel.Available separately: SATB SAB and SSA. Instrumental ePak includes score and parts for Flute Oboe Bb Clarinet FHorn 1 2 3 Bb Trumpet 1 2 3 Trombone 1 2 Bass Trombone Guitar Bass Drums Timpani Percussion Violin 1 2 Viola Cello and String Bass. ChoirTrax CD also available. Performance Time: Approx. 4:10

The surviving second and third acts of Catone in Utica, one of Metastasio's most dramatic libretti, premiered in Verona in the spring of 1737 in a setting by Vivaldi, contain some of his finest, most mature, and most original arias, and are published here for the first time. They evince a potential dramatic intensity that makes us regret all the more the loss of the first act. Only one aria of Act I can be definitely recovered from a surviving opera, but the rest has now also been successfully reconstructed by Alessandro Ciccolini, whose intimate knowledge of Vivaldi's working methods, combined with brilliant stylistic insight won universal acclaim for his work on Vivaldi's Motezuma and Ercole sul Termodoonte. Ciccolini has also composed cadenzas and da capo variations for all the arias, published here in an appendix.A complete recording under the direction of Alan Curtis is available from Naïve Records(OP30545).Press Quotes:'[For his completion,] Alessandro Ciccolini, who, mindful that Vivaldi frequently adapted vocal music for his instrumental works and vice versa, has composed the missing passages using themes from the concertos as his starting point. His arias dovetail beautifully with Vivaldi's scheme of things...' The Guardian'Ciccolini and Curtis deserve enormous credit for transforming an incomplete obscurity into a coherent and compelling opera.'Gramophone'The opera survives incomplete, but this is a fascinating and apt reconstruction and there is some marvellous stuff here.' BBC Music Magazine / Chant Et Piano

Collection-Develop enthusiasm and skill with this value packed collection for men's chorus that will add to your repertoire and be fun to rehearse! Includes: ABC (The Jackson 5) The Lion Sleeps Tonight (Tokens) Man in the Mirror (Michael Jackson) Pretty Little Angel Eyes (Curtis Lee) Silhouettes (The Rays).

Based on the famous film starring Burt Lancaster and Tony Curtis this well-received Broadway musical starred John Lithgow who won the Tony Award for Best Actor for his performance. A controlling sometimes vicious columnist (a character modeled after Walter Winchell) gets involved with an ambitious young publicist in late 1950s New York. This folio features 11 songs from the show including: At the Fountain · Don't Know Where You Leave Off · Don't Look Now · For Susan · Laughin' All the Way to the Bank · Welcome to the Night · and more. Includes photos.

'Il Ritorno D'Ulisse In Patria' (The Return Of Ulysses) was first performed in Venice in 1640. Its stature among dramatic works of the seventeenth century has grown considerably and is now one of the most frequently performed of Baroque Operas. Alan Curtis has produced the first complete performing edition to be drawn from all available sources carefully annotated throughout the figured bass completed and the newly edited libretto and argomento given in full. Along with a useful scholarly preface and numerous corrections of notes rhythms and harmonies this edition is also of particular service for its careful corrections of the faulty libretto which has until now had to servefor all modern performances. Libretto by Giacomo Badoaro. English Libretto by Anne Ridler.

Cette anthologie est le fruit de la collaboration avec le DiDonato la mezzo-soprano Joyce qui avait exprimé le souhait d'enregistrer un CD avec mon ensemble' Il Complesso Barocco '. Il ne doit pas être simplement une autre compilation d'airs célèbres de Haendel ou Vivaldi, mais une collection de pièces de styles très différents et à des époques différentes qui sont liées par un thème commun préséance. (...) J'ai fait remarquer à elle que il y avait beaucoup d'airs magnifiques et des scènes entières, même en solo qui avait été chanté sur la scène baroque à la fois par les chanteuses et les castrats jouer les parties de dirigeants historiques célèbres femmes et des héroïnes. En proposant le titre 'Drama Queens', elle réduit le tout à une formule contemporaine. Notre idée était de cultiver les extrêmes, pour recueillir des airs qui montrent plus grand que la vie émotions.- Alan Curtis, / Mezzo-Soprano Et Piano