The most comprehensive collection of Broadway selections ever organized specifically for the singer. Each of the five volumes in the series contains important songs chosen because they are appropriate fpr each voice. All selections are in their authentic, original form, and taken from the original vocal score. The songs in The Singer's Musical Theatre Anthology, written by such noted composers as Kurt Weill, Richard Rodgers, Stephen Sondheim, and Jerome Kern, are vocal masterpieces ideal for the auditioning, practicing or performing vocalists.

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

Arthur Bliss 'Angels Of The Mind' arranged for Soprano and Piano.Bliss had wanted to set some of Kathleen Raine???s poems for a long time but seeming to him as delicate as flowers or shells he didn't want to spoil their fragile beauty. In 1964 he was invited to collaborate with this poet.During Cambidge University's 500th year of the music degree. He composed a Cantata The Golden to her works which emboldened him to choose seven poems from her collected words written during the years from 1935 to 1949 and this forms the Song Cycle.

This work was written in 1971. The text is derived from the Latin Requiem Mass treated as a kind of sacred poem rather than a liturgical text and the order of sections is much altered. The work derives principally from the opening piano harmonies and the soprano's initial melodic lines - the latter which have an affinity (not least in rhythmic accentuation) with certain aspects of plainchant combine with the piano chords and embellishments to produce a serial reservoir of material is used fairly strictly even in seemingly freer sections. The form is arch-like the opening material returning substantially altered at the end with as the work's centre a scherzo-likeSanctus introduced and punctuated by chords derived in lay-out from bell sounds. The work was written in memory of Alan Rawsthorne and Sir John Barbirolli and was first performed at the Wigmore Hall in 1979 by Jane Manning and Richard Rodney Bennett.

These vocal scores (BA9181, BA9182, BA9183) of Mozart?s concert and insert arias are based on the ?New Mozart Edition? (NMA). The first three volumes comprise all arias for soprano and orchestra. They are classified according to voice type (high soprano, soprano, low soprano and alto) and arranged chronologically within the volumes.

Unlike the NMA the musical text presented in these editions is free from practical references on performance aspects or suggestions on performance practice. Instead, each volume contains a accompanying brochure, with detailed explanations on the execution of appoggiaturas and other performance practice phenomena which are relevant to every aria. In addition, there is a choice of suggestions for the performance of cadenzas and lead-ins as well as a suggestion for the ornamentation of dal segno parts, which are often found in the early Mozart arias.

? Arrangement of arias according to voice type
? Underlaid text presented in the original language only
? All aria texts are translated into German and English and are printed seperately
? Idiomatic piano reductions to the individual arias
? Clear and legible layout of the musical text as all additional notes and suggestions on performance practice appear in the supplement published with each volume
? Performance material on hire to each aria
(Please refer to the relevant volume for further information)
/ [Grands Airs de Concert Pour Soprano] / Classique / Partition / Agrafé /

This was written for Barbara Bonney who had told Previn that she might be related to Billy the Kid (William H. Bonney). Previn discovered a collection of memories of Billy the Kid by women who had loved him. One of these women Miss Sallie Chisum expressed herself with such warmth and pungency that Previn was at once attracted to the character.

Operatic Arias - Vol. 3-Volume 3 for soprano contains the first half of the large-scale arias and ariettas that Rameau composed for lyric soprano (the 18th-century equivalent of today?s lyric coloratura soprano) in his prologues and divertissements. Each number is accompanied by a keyboard reduction and is introduced by a brief account of the dramatic situation as well as an English translation of the vocal text.Detailed historical Introductions (Fr/Eng)Practical keyboard reductions based on Opera Omnia RameauEach number is preceded by a brief outline of the dramatic situation and an English translation of the vocal textCo-edited by the Centrede musique baroque de Versailles and the Société Jean-Philippe Rameau (distributed exclusively by Bärenreiter)

Taken from Rusalka the eighth of Dvorak’s nine operas and the one that has remained his most popular. The story was adapted by Jaroslav Kvapil from Hans Christian Andersen’s The Little Mermaid and relocated to Bohemia with a Czech water-spirit or Rusalka in the principal role. Rusalka loves a mortal prince a witch grants her humanity but the romance doesn’t work out and she returns heartbroken to the water where she joins her beloved in death. The Song to the Moon comes from Act I. From her woodland pool Rusalka sings of her longing in the shimmering moonlight Silver moon upon the deep dark sky…tell me tell me oh where does my lovedone bide?

Eleanor Steber was one of the greatest interpreters of Mozart ever to grace the opera stage. In this unique aria collection she has given intricate editings that convey her ideas about vocal style in Mozart. All of Miss Steber'seditings are printed in gray giving them clarity against the black of the music. A plot synopsis character analysis translation and musical coaching precedes each aria. Ample prefatory material discusses Mozartean performancepractices. This volume is a must for any soprano. Contents: Batti Batti ? Non mi dir ? Porgi amor ? Dove sono ? Deh vieni non tardar ? Non so più ? Voi che sapete ? Ach ichfühl's.

Riduzioni canto-pianoforte e CD con basi orchestrali-Cantolopera is a publishing project devoted to students professionals and enthusiasts who wish to approch the great vocal repertoire for practicing performing or simply singing opera arias sacred pieces songs standards. The editions include a vocal s

The Musical Theatre Essentials series represents the ultimate selection of songs from the stage. Volumes are available for Soprano Mezzo-Soprano Tenor and Baritone/Bass either with or without accompaniment CDs.Unique song lists are provided in the books for each vocal range including this volume for Soprano.Newly edited and engraved with Vocal line and Piano accompaniment the two Soprano volumes from the MusicalTheatre Essentials series provide a golden opportunity to celebrate the music of the stage containing songs from classic musicals such as: Carousel Guys and Dolls The Sound of Music Sweeney Todd andWicked.

The Musical Theatre Essentials series represents the ultimate selection of songs from the stage. Volumes are available for Soprano Mezzo-Soprano Tenor and Baritone/Bass either with or without accompaniment CDs.Unique song lists are provided in the books for each vocal range including this volume for Soprano.Newly edited and engraved with Vocal line and Piano accompaniment the two Soprano volumes from the MusicalTheatre Essentials series provide a golden opportunity to celebrate the music of the stage containing songs from classic musicals such as: Carousel Guys and Dolls The Sound of Music Sweeney Todd andWicked.