Romantische Opera in three acts-Alfonso und Estrella D 732Romatic Opera in 3 ActsIn late September or early October 1821 Schubert and his close friend Franz von Schober vacationed in the countryside of Lower Austria. Their first stopover was at Ochsenburg Castle which belonged to the Bishop of St. Pölten (a close relative of Schober?s) after which they moved on to St. Pölten itself. Roughly a year earlier two stage works by Schubert had been performed in Vienna: the one-act singspiel Die Zwillingsbrüder and the melodrama Die Zauberharfe. The librettos were both written by the seasoned Viennese playwright Georg von Hofmann who blamed the press for the indifferent reception the two works weregiven by the audience. Schubert and Schober now decided it would seem to write a grand romantic opera uninfluenced by the workaday world of the theatre and beholden solely to their own ideas of what an opera should be.Not until 24 June 1854 was the opera finally performed in Weimar under the baton of Franz Liszt. It only achieved success however in an arrangement by Johann Nepomuk Fuchs that was staged on many German and Austrian stages in 1881 2 allegedly with 'brilliant acclaim'.Urtext of the New Schubert EditionFull score (BA5540) and vocal score (BA5540-90) available for salePerformance material (BA5540-72) available for hire

Opera in 3 atti (3 scene) da Zi Munacella di S. Di Giacomo su libretto di M. Salvini. Par PIETRI GIUSEPPE. / Date parution : 2023-08-12/ Répertoire / Opéra

Par COLANGELO ANTONELLA. Main, ceux-ci, le dessin, la danse, à inventer ... J'apprends. Méthode pratique de l'apprentissage de la musique. Référence utile et un outil précieux pour les enseignants de la maternelle et du primaire au début. Des exercices pratiques et des éléments musicaux de créer progressivement l'apprentissage ciblés compiutezzascorso d'alphabétisation musicale de base./ Etude / Opéra Théorique ou Didactique

Par MONACHINO ANTONELLA. / Solfège/Formation Musicale / Opéra Théorique ou Didactique

Poul Ruders' opera Tycho in 3 Acts was premiered May 15 1987 by Aarhus Symphony Orchestra and Kaare Hansen (conductor) at Helsingør Theater in Aarhus Denmark. Libretto in Danish by Henrik Bjelke. Vocal score: WH31457C Synopsis: In 1597 the famous Danish astronomer and astrologist the nobleman Tycho Brahe flees his castle cum observatory Uraniburg on one of the small islands off the Danish coast. The newly coronated King Christian the Fourth has a grudge against Tycho who in 1572 discovered a new star Stella Nova by using his naked eye only; the telescopewasn’t invented yet. This discovery gained Tycho tremendous fame among his contemporaries within the European scientific circles. The now weakened and embittered old man moves together with his wife Christina whom he raped when she was an adolescent and Jeppe the Dwarf his fool-servant whose life Tycho once saved to the plague-infested city of Prague. There at the Benatky Castle Tycho encounters the main reason for his departure from Denmark: the young German mathematician Johannes Kepler the only scientist among his contemporaries Tycho acknowledges - Tycho is in severe need of intelligent challenge. Which he gets and with a disastrous result for himself. The encouraging encounter with Kepler turns into Tycho's scientific and earthly death verdict. Slowly Tycho realizes that his own conception of the Earth as the indisputable axes of the Universe is shattered by Kepler s theory about Earth encircling the stationary Sun. The ancient picture of the Universe collapses Tycho feels deceived by Kepler who leaves the castle shaken by Tycho's wrath. But they meet again and reunite in a Romanza a Due at Tycho’s death bed. The opera hovers above immense sadness and extreme ridicule - the cast is most peculiar indeed - so in many ways 'TYCHO' may be described at the best as a'Tragic Operetta'

Par HINDEMITH PAUL. The opera is set in a variety of locations between the years 1608 and 1630 and throws a spotlight on individual scenes, sometimes presented simultaneously, from the life of the astronomer Johannes Kepler (1571-1630); the opera takes its name from Kepler’s theoretical work ‘Harmonices mundi’. Hindemith utilises substantial historical studies as the basis for his sketches of individuals within Kepler’s circle who each accompany the astronomer’s scientific endeavours with a variety of personal ambitions. The military commander Wallenstein attempts to utilise Kepler’s astrological abilities to realise his own pretensions to power while Kepler’s assistant Ulrich aspires to scientific fame and recognition. Kepler’s mother urges her son to apply his scientific abilities to the services of her black magic and the Lutheran minister Hizler forbids the astronomer to receive communion because Kepler questions the doctrine of Holy Communion in the Lutheran church and expresses sympathy for Calvinist doctrine. The few figures shed in a positive light include Kepler’s wife Susanna who supports her husband’s pursuit of truth and knowledge and the child Susanna who listens to the voices of nature and the moon in her childish naivety, thereby gaining revelatory knowledge. At the end of his life, Kepler takes stock of his situation, succumbs to a state of resignation and considers death as the greatest harmony of all. In his state of agony, music of the spheres can be heard; the constellations appear as allegorical figures in the opera and contradict Kepler’s negative concepts: lying beyond all that can be researched by mankind is a final majestic realm with the powers to ‘permit us to be amalgamated into a gigantic harmony of the spheres.’ / Date parution : 2022-07-20/ Répertoire / Opéra

Operas in three acts Version of the premiere, London 1737. Par HAENDEL GEORG FRIEDRICH. “Charming Berenice” – the Earl of Shaftesbury attended a rehearsal of the opera on 12 May 1737 and went into raptures about this “inexpressible delight”. “Berenice” was premiered at Covent Garden Theatre in London just a few days later on 18 May 1737. “Berenice” is one of the “light” operas and offers a wealth of musical gems, the second movement of the overture having become famous as “The Minuet from Berenice”, for instance, as has Berenice’s extended aria in the third act, in which she reflects on the inconstancy of the god Amor in duet with the solo oboist. The musical imagery which Handel worked into the opera is likewise enchanting, such as the imitation of bees humming in Fabio’s “Vedi l’ape” and the sorrowful cooing of a dove in Selene’s “Tortorella che rimira”. The scholarly-critical new edition contains the musical text of the first performance together with pieces in the appendix which Handel excised or shortened in preparation for the premiere. As is customary with our editions, a preface provides a detailed introduction to the genesis of the work, the story’s historical context, the source material and reception. Furthermore, the edition includes a translation of the libretto and an exhaustive Critical Report./ Répertoire / Opéra

Crit. Ed. Fabrizio Della Seta. Par BELLINI VINCENZO. 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. 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. / Opéra-opérette / Répertoire / Opéra

Una Trama Da Emanuele Navarro Della Miraglia (Libero Adat - Tamento Di S. Bussotti) . Par BUSSOTTI SYLVANO. Una Trama Da Emanuele Navarro Della Miraglia (Libero Adat - Tamento Di S. Bussotti) / Musique contemporaine / Répertoire / Opéra

Comédie (Laxenburg 1765) Gluck Complete Works IV/4. Par GLUCK CHRISTOPH WILLIBALD. The critical edition presents the music to the verse comedy “Soliman second, ou Les Trois Sultanes” by Charles-Simon Favart (1710–1792), which was performed before the Viennese courtly audience in the Schlosstheater Laxenburg by the French troupe of the Burgtheater on 18 May 1765. This is the first time that Gluck’s music to the Favartian comedy has appeared in print. A popular comedy which in particular was known for its exotic colour, “Soliman second” quickly made its mark on many European stages. Through the good offices of the court theatre director Count Durazzo, the libretto made its way to Vienna too. As “Direttore della Musica” at Vienna’s Burgtheater and an accomplished writer of French opéras-comiques, Gluck may have been commissioned to compose the vocal numbers – four solo airs and a duet – which were meant to be performed in the comedy. As far as can be established, Gluck’s involvement in incidental music is an exception in his artistic output. In addition to the detailed introduction to the history of the work, the volume contains the Critical Report providing exhaustive information on the source material, editorial technique and performance practice. The libretto for the premiere performance and illustrative extracts from the sources are reproduced in facsimile./ Répertoire / Opéra

Per il musicista contemporaneo.Una volta sentito un motivo riesce a rieseguirlo a memoria, a ideare una melodia e mettere tutto ciò per iscritto senza cambiare nemmeno una nota, oppure suonare subito, senza alcun apparente sfasatura tra il pensiero e l'esecuzione. Nonostante di soi si riferisca a questa abilità in termini di 'dono? -ovvero un qualcosa che è stato conferito ad una persona da una forza esterna- in realtà questa dote si basa su abilità concrete che possono essere apprese attraverso una corretta educazione musicaesto testo, completato da 2 cd allegati, accompagna passo dopo passo proprio nella direzione di un giusto ed efficace percorso didattico attraverso il famoso corso di Ear training del Musician Institute. Grazie a questo metodo si potranno migliorare lmente le proprie abilità musicali. Le analisi e le lezioni comprendono: l Intonazione di base - l Cantare scale maggiori e minori - l Riconoscimento degli intervalli - l Trascrizione di melodie e ritmi - l Riconoscimento di accordi e successioni di / Opéra Théorique/Didactique

Partitura. Par BUSSOTTI SYLVANO. Italian / Musique contemporaine / Répertoire / Opéra