Par BENJAMIN GEORGE. Premiered in 2018, the 90-minute opera Lessons in Love and Violence delves into the dark and turbulent events of Edward II's life and death. George Benjamin and Martin Crimp's third collaboration, it unfolds as a taut slow burning arch of seven tableaux. This work boasts particularly rich string textures, and is coloured by basset horn and cimbalom together with a pair of harps, celesta, and percussion (including talking drums and tombak). Several of the opera's powerful interludes are dominated by braying, sardonic brass - with tuba substituted by the more menacing contrabass trombone. There is also much spectacular ensemble writing: in Scene Three's play within a play, several strands of independent music collide, and the result is perhaps one of the most complex musical structures Benjamin has ever tackled. The music's relationship to the drama is often unstable and seemingly very spontaneous, but beneath it all one senses a rigorous architecture, unflinchingly guiding the listener deeper and deeper into the opera's disquieting emotional world. This full score is a perfect accompaniment to the previously published vocal score and text. / Musique contemporaine / Répertoire / Opéra

A German Opera in Two Acts Urtext - réduction piano-voix Compositeur : Mozart Wolfgang Amadeus Instrumentation : 6 Soprano solo, 3 KnaSt, 4 Tenor solo, 5 Bass solo, 4 Speaker, Mixed Choir, 2 Flute/ Piccolo, 2 Oboe, 2 Clarinet (b flat), 2 Basset horn, 2 Bassoon, 2 Horn, 2 Trumpet, 3 Trombone, Kettledrum, Chime-bells, Strings Besetzung / Ensemble Vorwort Preface Verzeichnis der Auftritte / Index of Scenes Ouverture Erster Aufzug Zweiter Aufzug

The Works of Giuseppe Verdi is the first critical edition of the composer's oeuvre. Together with his operas, the series presents his songs, his choral music and sacred pieces, and his string quartet and other instrumental works. Based on Verdi's autograph score and an examination of important secondary sources, including contemporary manuscript copies and performing parts, this edition of Il trovatore identifies and resolves numerous ambiguities of harmony, melodic detail, text, and phrasing that have marred previous scores. Scholars and performers alike will find a wealth of information in the critical apparatus to inform their research and interpretations. _ e introduction to the score outlines the work's genesis, sources, and performance history, while the critical commentary discusses all editorial decisions. / Orchestre Et Voix