La Naissance d'Osiris opera-ballet by Rameau to a libretto by Louis de Cahusac Fontainebleau 12 October 1754 written to celebrate the birth of the Duc de Berry who became Louis XVI.DRAMATIS PERSONÆPamilie (Soprano)Un Berger (Countertenor Haute-contre)Le Grand Prêtre de Jupiter (Bass-baritone)Jupiter (Bass-baritone)L’AmourLes Gr cesBergers Bergères Prêtres PeuplesORCHESTRAMusettes2 Flutes2 OboesBassoonStringsBasso continuoDuration: circa 52 minutes

Beatrice et Benedict-About Beatrice et Benedict Opera-comique. By Hector Berlioz. Edited by Hugh Macdonald. Arranged by Josef S. Durek. Text: Hector (nach Shakespeare) Berlioz. For Soprano solo (2) Mezzo-soprano-Solo Tenor solo Baritone solo Bass solo (2) Speaker (5) Mixed Choir-SSTTBB Flute (2) Oboe (2) Clarinet (b flat) (2) Bassoon (2) Horn (4) Trumpet (2) Cornet Trombone (3) Kettledrum Drums Strings. Piano Reduction/Vocal Score (paperbound). Holoman 138. Published by Baerenreiter-Ausgaben (German import). (BA5443 90)

A chamber opera in one act for soprano tenor baritone and bass soli TTBB chorus and orchestra commissioned for the Wells 800 Celebration in 1982. Libretto by Peter Porter. Vocal score with piano reduction. Duration: c. 55minutes.Orpheus is a Chamber Opera or perhaps more properly might be described as an ‘Opera-Cantata’. It is designed to be performed as a short opera fully staged and costumed or as a concert piece. Either way itsstructure is dramatic rather than reflective. It tells the story of Orpheus probably the most familiar story in music and en emblem of their art for composers of all periods as a direct narrative. Since the legend is set inthe world of pagan mythology it has been lightly Christianised for its Church setting. The Aeneid has often been seen as speaking of Christ avant la lettre and Renaissance Humanists were always willing to identify forerunnersof Christian types in Classical personages: in this manner Orpheus pursues without undue emphasis musical parallels with St Francis St Cecilia and even Adam and Eve.The work is framed briefly by a prologue and epilogue. ThePrologue introduces the four solo singers Hades (bass) Orpheus (tenor) Eurydice (soprano) and Charon (baritone). It also introduces the chorus who do not only portray at various stages Orpheus’s wedding companions thedenizens of Hell and Blessed Spirits in the Elysian Fields but also comments on the action as it proceeds.

Monteverdi’s opera “L’Orfeo”, based on the legend of Thracian singer Orpheus and his love of Eurydice, is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the “Palazzo Ducale” in Mantua. When an edition remains true to its sources, this certainly does not mean that it is not also practical to use, as is demonstrated in this Bärenreiter edition of Monteverdi’s “L’Orfeo”. Edited by Rinaldo Alessandrini, the new publication follows the Bärenreiter edition of Monteverdi’s “Il ritorno d’Ulisse in patria”. Two contemporary prints of “L’Orfeo” from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However, when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants, not only between the two editions but also amongst the eight surviving copies, are listed in the critical commentary. This edition of “L’Orfeo” offers in addition to Monteverdi’s somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should, however, feel free to follow his own judgment. The notation has been, when necessary, adapted to suit modern practice, for example with regard to the clefs. The sections that were originally written in “chiavetta” have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower. - Detailed introduction by the editor (Ital/Eng/Ger) on the work’s genesis and performance practice - Comprehensive critical commentary (Eng) in the score - Idiomatic piano reduction Edition no.: BA 8793-90 ISMN: 9790006533121 Composer / Author: Monteverdi, Claudio Title: L'Orfeo Favola in musica in one prologue and five acts Detailed instrumentation: Soprano solo (7), Tenor solo (4), Bass solo (3), Mixed choir: SSATTB, Male choir: TTBBB, Orchestra Librettist: Striggio, Alessandro (junior) Editor: Alessandrini, Rinaldo Foreword / Introduction: Alessandrini, Rinaldo Product format: Piano reduction, Urtext edition Language(s) of work: Italian Language(s) of text: German, Italian, English Publisher: Bärenreiter Binding: Paperback Print run: 1st printing 2012 Pages / Format: XIV, 143 S. - 27,0 x 19,0 cm Weight: 428 g

Iain Bell's A Harlot's Progress is an Opera in six scenes featuring a libretto by Peter Ackroyd based upon William Hogarth’s 1730 etchings of the same name.This is a full score for Soprano Mezzo-Soprano (x2) Baritone Tenor and Bass soloists with SATB chorus and Orchestra.

ballet héroique en un acte Series : Opera Omnia OOR IV.25 Edition : Piano Reduction/Vocal Score Editor : Williams, Jonathan Huw Binding : paperbound Instrumentation : Bass solo, Soprano solo, Alto solo, Alto solo, Mixed Choir, Piano

The Fairy Queen (Full Score)-Purcell Society Edition No.12. The Fairy Queen In Full Score. The drama adapted from Shakespeare's A Midsummer Night's Dream. The work may be perfomed with a minimum of five soloists: Soprano I Soprano II Alto or countertenor or Tenor Tenor Bass. The orchestral scoring consists of two recorders two oboes two trumpets timpani strings and continuo. Orchestral parts are available for hire from the publisher. Vocal Score available for sale.

The latest addition to the Novello Handel Edition. A stage work of 1745 based on John Milton's classical masque Comus created from a compilation of songs by Handel and Thomas Arne both pre-existing and original with the text adapted by John Dalton. This is the first ever complete publication of the work and is edited by Handel scholar Colin Timms. This work is for three or four Sopranos Mezzo-Soprano Tenor one or two Bass Soli and Orchestra. This edition is an 'important new contribution to scholarship with Colin Timms continuing the work of Anthony Hicks in putting together an edition of work from various sources'. There are 'somefine movements to be found by both composers not least the three airs and trio that Handel provided specially for performance in Exton Hall Rutland in 1745'. Choir & Organ  November/December 2017 'Potential performers will appreciatre the excellent editorial preface. The print of this vocal score with piano reduction though small is very clear and well laid-out and orchestral parts including a fully realised continuo part are available from Novello.' Organists’ Review December 2017

Song For The Duke Of Gloucester's Birthday 1695 (Full Score)-Henry Purcell (1659-1695) held numerous appointments at the Royal court and Westminster Abbey and is considered by many to be the greatest ever English-born composer. His prolific work covered all fields: orchestral ecclesiastical operatic theatrical incidental and chamber music were all enriched by his output.One of Purcell’s last pieces Who Can From Joy Refrain? (Z 342) was written for the 6th birthday of Prince William Duke of Gloucester in June 1695. The Prince was said to enjoy the brash tone of the Trumpet so the prominent Trumpet part was written especially for him. Unusually Purcell also made use of therecently-introduced Oboe and Bassoon.A real asset to the catalogue A Song For The Duke Of Gloucester's Birthday showcases the very best of Purcell’s genius.

Par WALLEN ERROLLYN. 2S.2Mez.T.Bar.South African Singer.Young Child Soli - SATB Chorus - 1.0.1.1 - 1.1.1.0 - Percussion - Piano ElecBassGuitare H p - Str(3.2.2.1) - Durée: 45 min / Contemporain / Répertoire / Opéra