| Recueil ? Airs d?opéra
(VIVALDI ANTONIO)
Français Piano, Voice [Sheet music] Editions Buissonnieres
Par VIVALDI ANTONIO. C'est seulement en 1713 que Vivaldi aborde l'opéra ; certa...(+)
Par VIVALDI ANTONIO. C'est seulement en 1713 que Vivaldi aborde l'opéra ; certaines sources parlent de 94 productions, mais seules 50 ont été identifiées. La musique de ces opéras n'ayant pas été imprimée, contrairement aux livrets, il ne reste trace (complète ou partielle) que d'une vingtaine d'opéras. Impresario du Teatro San Angelo de Venise, Vivaldi écrira la majorité de ces opéras pour ce théâtre. / Date parution : 2021-11-15/ Recueil / Basse
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| Giacomo Puccini: Madame
Butterfly: Opera Piano, Voice Ricordi
Testo Cantato In Italiano-Madama Butterfly took wing under turbulent circumstanc...(+)
Testo Cantato In Italiano-Madama Butterfly took wing under turbulent circumstances. The premiere (Milan Teatro alla Scala 17 February 1904) was a disaster; while a second production only months later (Brescia Teatro Grande 28 May 1904) was instead a resounding success. Inthe intervening period the composer had made considerable changes to the score enough that the result qualifies as a ?second version?. Still other changes were to come however as the opera toured in successive productions. The definitive version which is reflected in this edition was produced in 1906 at the Opéra Comique in Paris and published by Ricordi the following year. Puccini thus invested considerable effort into the creation of his favorite opera ? and into shaping the fate of theheroine herself a manifestation of the extremes of patient waiting and steadfast love. The music is a complete and masterful expression of the pity and disillusionment that surround the figure of Cio-Cio-San: her absolute but misguided hope herpathetic pretence in the name of love her miserable demise.
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| Le Villi (PUCCINI
GIACOMO) Piano, Voice Ricordi
Ed. critica di Martin Deasy - Riduzione per canto e pianoforte. Par PUCCINI GIAC...(+)
Ed. critica di Martin Deasy - Riduzione per canto e pianoforte. Par PUCCINI GIACOMO. What is being presented here is the piano vocal score of Le Villi, Giacomo Puccini’s first stage work, the full score of which was published by Casa Ricordi (NR 141755) in 2020.The premiere of Le Villi took place at the Teatro Regio in Turin on 27 December 1884, and was followed by a Milanese performance at Teatro alla Scala on 24 January 1885: both productions were quite well received by critics and public alike.The critical edition by Martin Deasy is based on the autograph score that Puccini initially prepared for the one-act version (Willis), and later modified for the two-act, revised version (Villi). Pursuing a groundbreaking philological approach, the editor has, furthermore, taken into proper consideration the contemporaneous printed editions of the piano vocal score, which constitute, in his view, the principal collateral sources, if one is to consider the particular genesis of this work. For it is certain that Puccini, upon entering the Sonzogno competition, submitted a score of Willis that lacked proper orchestration in a few pages and displayed, above all, incomplete vocal lines. However, he also provided a manuscript reduction for piano and vocal score (now lost, except for the final Number of Willis) that was undoubtedly more detailed, as far as the vocal lines were concerned. The editor demonstrates that the vocal material realized for the first performance of Willis was not derived from the autograph score, but from the lost score reduction. The latter also served as the basis for the preparation of Ricordi’s printed edition of the piano vocal score./ Répertoire / Chant et Piano
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| Giacomo Puccini:
Turandot: Opera: Vocal
Score Piano, Voice Ricordi
Ed. tradizionale - riduzione per canto e pianoforte (testo cantato Inglese-Itali...(+)
Ed. tradizionale - riduzione per canto e pianoforte (testo cantato Inglese-Italiano)-The compete vocal score of Puccini's celebrated Turandot premiered on April 25 1926 at Il Teatro alla Scala in Milan. The last duet and final scene of the opera were completed by F. Alfano. English adaptation by R.H. Elkin.
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| Vivaldi A. - Orlando
Furioso - Chant-piano
Français Piano, Voice Editions Buissonnieres
L'œuvre lyrique de Vivaldi reste paradoxalement méconnue : l'extraordinaire su...(+)
L'œuvre lyrique de Vivaldi reste paradoxalement méconnue : l'extraordinaire succès rencontré par un petit nombre de concertos a éclipsé tout un pan de ses compositions, notament les opéras, auxquels il consacra pourtant l'essentiel de sa carrière. De 1713 à 1741, Vivaldi donna le jour à une œuvre colossale, préservée en grande partie par la Bibliothèque de Turin : plus de 450 compositions manuscrites, en grande partie autographes. Orlando furioso, drame héroïco-magique représenté au Teatro S. Angelo de Venise à l'automne 1727, prend place à l'exacte mi-temps de la carrière lyrique de Vivaldi. Quatorze années plus tôt, au mois de mai 1713, le Prete Rosso présentait à Vicence son premier opéra connu, Ottone in villa. Quatorze années plus tard, il s'éteignait dans l'oubli après avoir vainement tenté de faire représenter à Vienne son ultime opéra, L'Oracolo in Messenia. Grâce au travail remarquable du librettiste, Grazio Braccioli, qui a su conserver de l'œuvre originale d'Arioste son essence poétique et sa dimension humaniste, Vivaldi y fait éclater le schéma conventionnel du dramma per musica, explorant les formes musicales les plus variées, bousculant la hiérarchie classique des personnages et superposant les actions dramatiques, toutes conduites avec une remarquable efficacité. Près de trois siècles après sa création, l'on demeure confondu face à l'extraordinaire richesse musicale et dramatique de l'œuvre, pièce éblouissante où se mêlent toutes les formes existantes du théâtre chanté. La reconstitution de l'opéra a nécessité un important travail préparatoire sur le manuscrit turinois, particulièrement complexe, mêlant des feuillets soigneusement calligraphiés à des feuillets griffonnés à la hâte et comportant de multiples insertions, fragments ou retranchements, ainsi qu'une numérotation irrégulière des scènes. Jacques Manet en a enfin réalisé une version pour clavier très attendue par les chanteurs, mettant ainsi à la portée du plus grand nombre une œuvre dans sa version complète, telle qu'elle fut conçue en 1727 par Vivaldi. Réduction chant et clavier : format A4, 286 pages, sur papier ivoire - Arrangement pour clavier : Jacques Manet - Présentation : Frédéric Delaméa - Traduction en anglais : Elizabeth Szostak-Clerc
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| Giuseppe Verdi: Attila:
Voice Piano, Voice Ricordi
Ed. Critica di Helen M. Greenwald - riduzione per canto e pianoforte-Attila Ver...(+)
Ed. Critica di Helen M. Greenwald - riduzione per canto e pianoforte-Attila Verdi?s ninth opera and the second of five that he composed for Venice?s Teatro La Fenice had its premiere on 17 March 1846. Verdi was inspired to compose an opera on the subject of Attila by two rather unusual sources Attila König der Hunnen a curious play by a now-forgotten German playwright Friedrich Ludwig Zacharias Werner and Madame de Staël?s discussion of it in her magisterial work on Germany De l?Allemagne. This present reduction is based on the critical edition of the full score that - published in 2012 - is the first complete published version of the full orchestral score and the product of the study of numerous manuscript sources: the autographsources (now kept at the British Library in London at the Library of Congress in Washington D.C. and at the ?Museo del Teatro alla Scala? in Milan) manuscript sources (those kept at Teatro La Fenice in Venice and at Teatro San Carlo in Naple) andthe first piano vocal scores.
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| Giovanni Battista
Pergolesi: Il Flaminio:
Vocal: Vocal Score Piano, Voice [Vocal Score] Ricordi
Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frig?-Some ...(+)
Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frig?-Some few months after returning to Naples from Rome where he had gone to follow the premiere of L?Olimpiade at the Teatro Tordinona during the 1735 carnival season Giovanni Battista Pergolesi ?? notwithstanding the quickened pace of the disease that would soon bring his brief life to a close ? presented the public with a new work Il Flaminio a ?commedeja pe? mmuseca? set to a libretto by Gennarantonio Federico. The opera was staged as the second of season that fall at the Teatro Nuovo sopra Toledo (one of three traditional venues together with the Teatro dei Fiorentini and the Teatro della Pace dedicated to the production of opere bu e) where it met with a generally favorable reception. The edition includes a historical Introduction a description of all the sources considered and a Commentary with critical notes and information related to specific problems of performance practice.
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| Giovanni Battista
Pergolesi: Il prigionier
superbo: Voice Piano, Voice Ricordi
Ed. critica di C. Toscani - Riduzione per canto e pianoforte-Based on the anonym...(+)
Ed. critica di C. Toscani - Riduzione per canto e pianoforte-Based on the anonymous recasting of a libretto derived in turn from La fede tradita e vendicata by Francesco Silvani (1705) Il prigionier superbo by Giovanni Battista Pergolesi was first performed on 5 September 1733 at the Teatro di San Bartolomeoin Naples. With this opera ? his second dramma serio for San Bartolomeo in less than two years ? the young composer (who had already acquired considerable professional stature in the city?s theatres churches and aristocratic circles) reprised aperennially popular subject centered around the dramatic conflict between filial piety and devotion to one?s betrothed. Inserted between the opera?s three acts were the intermezzi of La serva padrona which would soon go on to take all of Europe bystorm.The primary source for this edition is a manuscript copy of the score currently housed in the Conservatorio di Musica ?San Pietro a Majella? in Naples and prepared by Giuseppe Sigismondo who was quite probably working from the now-lost autograph.Two other significant manuscript copies of the score also housed in Naples (respectively in the Biblioteca Oratoriana dei Girolamini and the aforementioned conservatory) were consulted along with a number of manuscript copies of individual arias.
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| Giuseppe Verdi: Il
Trovatore - Vocal Score:
Opera: Vocal Score Piano, Voice [Sheet music] Ricordi
Vocal Score / Softcover-In a letter of 2 January 1851 Verdi suggested for the f...(+)
Vocal Score / Softcover-In a letter of 2 January 1851 Verdi suggested for the first time Antonio Garcia Gutierrez play El Trovador as a possible subject for his new Opera: 'It seems to me very beautiful imaginative and full of strong situations'. Once he had settled on the subject the composer immediately began looking for a theater in which to produce the Opera and after protracted negotiations he decided to stage Il Trovatore in Rome. The premiere occurred on 19 January 1853 at the Teatro Apollo and was an enormous success. The appreciation of the new work increased from performance to performance. The third performance was the last the composer was contractuallyobliged to attend: at the end of the evening the audience presented Verdi with two laurel wreaths. Verdi's account of the performances contained in a letter to his friend Clarina Maffei was eloquent: 'They say that this Opera is too sad and that there are too many deaths. But ultimetley in life everything is death! What exists?...' Notwithstanding Verdi's pessimism Il Trovatore circulated rapidly. In fact no other Opera of Verdi except 'Ernani' enjoyed such instant and widespread success.
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| Giuseppe Verdi: Luisa
Miller: Opera: Vocal
Score Piano, Voice [Sheet music] Ricordi
Full Vocal score of Giuseppe Verdi's complete opera Luisa Miller. With Italian l...(+)
Full Vocal score of Giuseppe Verdi's complete opera Luisa Miller. With Italian lyrics and synopsis in Italian English French and German. A short opera packed with interest movement and passion. It was was extremely well received and one contemporary critic Abramo Basevi even claimed that it inaugurated Verdi’s second manner. The preparation of the libretto as documented by the abundant correspondence between Verdi and Cammarano is a topic of great interest in the study of Verdi’s dramaturgy. Luisa Miller was first staged at the Teatro San Carlo of Naples on 8 December 1849.
30.99 GBP - Sold by Musicroom UK |
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| Antonio Vivaldi: La
Dorilla RV 709: Vocal:
Vocal Score Piano, Voice [Vocal Score] - Easy Ricordi
Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé-The ...(+)
Ed. critica di Ivano Bettin - Riduzione per canto e pianoforte di A. Frigé-The present reduction derives from the critical edition of the score published in this catalog in November 2019. Antonio Vivaldi?s La Dorilla a heroic-pastoral opera on a libretto by Antonio Maria Lucchini was premiered at the Teatro Sant?Angelo in Venice on 6 November 1726. Six years later it was revived in a much shortened and altered form at the Sporck Theatre in Prague. In 1734 it returned for the last time to the Venetian stage at the Teatro Sant?Angelo where despite being greatly revised it was once again successful. Many of its recitatives had been shortened and several arias replaced some with movements borrowed from other operas by Vivaldi and some with arias taken from ones by other composers such as Johann Adolf Hasse Geminiano Giacomelli Domenico Sarro and Leonardo Leo. The adaptation was the work of the Venetian man of letters Bartolomeo Vitturi who adjusted the libretto with the precise aim of satisfying the demands of the public which wished to hear the most famous pieces by the composers who were fashionable in those years. This vocal-score edition includes a synthetic introduction of the historical context the description of the main source employed and a choice of the critical Notes to the musical text.
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| Giuseppe Verdi: Il
trovatore: Voice: Vocal
Score Piano, Voice Ricordi
Vocal Score-This is the Complete Vocal score of the entire opera with singing te...(+)
Vocal Score-This is the Complete Vocal score of the entire opera with singing text in Italian and English. A beautiful imaginative opera and it is one of Verdi’s most famous works and most successful opera. The premiere occurred on 19 January 1853 at the Teatro Apollo in Rome and was an enormous success. The appreciation of the new work increased with each performance. The third performance was the last that Verdi was contractually obliged to attend: at the end of that evening the audience presented Verdi with two laurel wreaths.
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| Vincenzo Bellini: I
puritani: Voice Piano, Voice Ricordi
Ed. Critica F. Della Seta - Riduzione per canto e pianoforte ? softcover 2 volu...(+)
Ed. Critica F. Della Seta - Riduzione per canto e pianoforte ? softcover 2 volumi-I Puritani is the last work of Vincenzo Bellini: composed in nine months from April 1834 to January 1835 (a gestation unusually long for that time) was performed for the first time in Paris Théâtre Italien 24 January 1835. During this period the dramatic structure suffered radical transformations: initially structured in two acts the work was divided into three acts just before the premiere but on the eve of the first performance and immediately after that theexcessive length of the title imposed the cut of three pieces and other minor sections. Simultaneously with the release for Paris Bellini prepared a version designed for a planned exhibition for Naples at Teatro S. Carlo whose protagonist had to beMaria Malibran and in which the part of Riccardo had to be supported by a tenor. The exhibition did not take place as the score came late in Naples: the Neapolitan version was rediscovered and performed only in the eighties of the twentieth century.The new Critical Edition is based on the autograph on the libretto of the first performance and on four manuscript copies produced in the context of the Théâtre Italien in the first months of life of the work three of which contain autographinterventions (these sources are now kept at the Biblioteca Comunale in Palermo at the Museo Civico Belliniano in Catania at the Archivio Storico Ricordi in Milano and at the Staatsbibliothek zur Preussischer Kulturbesitz in Berlin). This Edition presents for the first time all the music composed by Bellini it restores the sections deleted before or after the first performance in Paris and returns the modified sections of the Naples version; it consists of three-score volumes- introduced by a detailed reconstruction of the historical context - and of a ?Apparati? volume with a description of the Sources and the Critical Commentary to the musical text.
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| Gaetano Donizetti: Anna
Bolena Volume I and
Volume II: Voice Piano, Voice Ricordi
Ed. critica di Paolo Fabbri - Riduzione per canto e pianoforte-Vocal score based...(+)
Ed. critica di Paolo Fabbri - Riduzione per canto e pianoforte-Vocal score based on the critical edition of the orchestral score edited by Paolo Fabbri 2 volumes. Donizetti?s Anna Bolena premiered at Milano?s Teatro Carcano during Carnival season 1830-31 is considered the composer?s first major success inserious opera which brought him to the attention of all Europe. In terms of production in Italy he was an anomaly in that he remained actively involved in the evolution of his works and the performances of them and went on making modifications tothose works. Written expressly for the interpretative and vocal talents of great singers like Giuditta Pasta and Giovan Battista Rubini the historically-based ?lyrical tragedy? by librettist Felice Romani is a classic of Lombard Romanticism. Thepresent reduction for voice and piano derives from the critical edition of the score recently published in this catalog: is based on the autograph score (housed in the Ricordi Archives in Milan) on the libretto for the premiere on the first vocalscores printed editions (Lucca and Ricordi in Milan and Marquerie Frères in Paris) and additional manuscript scores with autograph additional notes (housed in Naples and Rome). This edition presents for the first time all the music composed byDonizetti in particular the sections crossed out or replaced either immediately before or after the first performances. There is also a synthetic reconstruction of the birth of Anna Bolena with a description of sources and a selection of theCritical Notes from the full score edition.
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| Gioachino Rossini: La
Cenerentola - Opera Vocal
Score: Voice: Vocal Score Piano, Voice [Sheet music] Ricordi
Vocal Score-In the days just before the Christmas of 1816 Rossini was still loo...(+)
Vocal Score-In the days just before the Christmas of 1816 Rossini was still looking for the subject and the libretto for an opera that he was contractually obliged to stage at the Teatro Valle in Rome in just over a month's time. Jacopo Ferretti proposed a libretto he had himself written based on the famous fairytale by Perrault Cinderella. Rossini composed the opera in less than a month completing it on the 24th January 1817 the day before its public debut. Removed from its original fairytale context Ferretti and Rossini's La Cenerentola is a comedy with some credible situations where comedy and sentiment come together brilliantly. The opera was a fantastic hit rightfrom the start and is still one of the composer's absolute masterpieces!This is the Vocal Score of Rossini and Ferretti's famous collaboration La Cenerentola.
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| Giuseppe Verdi: Aida -
Opera Vocal Score: Opera:
Vocal Score Piano, Voice Ricordi
Vocal Score-Full Vocal score of Giuseppe Verdi's successful and resoundingly pop...(+)
Vocal Score-Full Vocal score of Giuseppe Verdi's successful and resoundingly popular opera Aida. With Italian and English lyrics and synopsis in Italian English French and German. Commissioned by the khedive of Egypt to celebrate the opening of the Suez Canal Aida was first performed at the Cairo Opera Theatre on the 24th of December 1871. The following year it received its Italian premiere at the Teatro alla Scala in Milan. Verdi set the narrative with a variety of theatrical and musical solutions that effectively illustrate the love story in all its intricate excess resulting in unavoidable tragedy when the volatile and entangled dimensionof personal passions clashes with the power of patriotic conscience.
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