Full Score-The premiere of La Bohème took place at the Teatro Regio in Turin on 1 February 1896. Giuseppe Giacosa and Luigi Illica based their libretto for this opera on Scènes de la vie de Bohème by Henry Murger. It took Puccini only a fewmonths to complete a score brimming with wonderful melodic invention and orchestrational genius. The music is a surprisingly supple and sensitive medium for depicting a variety of emotions that animate the young: reckless living full of stop-gapexpedients erratic feelings and sudden explosions of noble sentiment the driving ambitions of one?s art. Puccini?s musical imagery illuminates the different moments and moods of the story with a delicate yet intense lyrical quality; just as therapid decline and death of Mimì subtle yet invincible remind us of the universal reality that all things must inevitably come to an end.On the cover: ?Al Quartiere Latino? sketch by Riccardo Salvadori as a variation on the sketch by Adolf Hohenstein for the world premiere in Turin of Bohème 1896 © Archivio Storico Ricordi

Giuseppe Verdi's Il Trovatore was based on a play by Gutierrez adapted by Salvtor Cammerano. Although the critics may complain about its lack of subtlety - it is filled with exactly the kinds of twists and unlikely coincidences that form the modern jokey stereotype of opera - 'Il Trovatore' will always be an audience favorite because of its wealth of great music. Verdi was stirred to the height of his inspiration by this work and from its premiere it was an even greater success than its predecessor 'Rigoletto'. The importance of Verdi's 'Il Trovatore' lies in its music; it displays some of the most ingratiating and beautiful melodies he ever wrote. This edition ofthe Vocal Score is in Italian with an English translation by Natasha McFarren and an essay by E. Irenaeus Stevenson.

Wagner completed the first version of the opera in 1845 during his tenure as Kapellmeister at the royal court of Dresden but he continued to redraft and revise it for the rest of his life. The setting is medieval Germany: the minstrel Tannhauser has fallen into sin with the goddess Venus but after a year in a moment of realisation he demands to leave. He finds himself near his home and is reunited with Elisabeth a girl he once loved. Elisabeth's uncle the landgrave organises a singing competition between Tannhauser and Wolfram who also loves her. Wolfram's song is simple and moving while Tannhauser confused by Venus outrages the audience by singing of profane love.He is banished to Rome on a pilgrimage to seek redemption and Elisabeth follows him with Wolfram. After much searching she gives up and dies just missing Tannhauser who Wolfram discovers creeping back to Venus the Pope having said that it was as impossible for him to be forgiven as for his staff to sprout flowers. Tannhauser sees Elisabeth and casts himself to die by her coffin and the Pope's staff bursts into bloom. This is the Schirmer edition of the Vocal Score edited and translated into English by Natalia MacFarren.

Edition no.: BVK 2270 ISBN: 9783761822708 Volume / Series: Documenta musicologica II/45 / Bärenreiter Facsimile Editor: Konrad, Ulrich Language(s) of work: English, German Product format: Facsimile Binding: Half-leather binding Pages / Format: 405 S. - 41,7 x 30,0 cm “This Tristan will be something formidable! This last act!” “I fear the opera will be banned – if the whole work is not parodied through bad performance: only mediocre performances can save me! Thoroughly good ones will surely drive people crazy.” Richard Wagner While working on the score to “Tristan und Isolde”, Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the “dawn” of the modern era and to this day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even handwriting. He constantly strove to produce manuscripts of a high calligraphic standard. The Tristan manuscript is also clearly written. More so than in his other scores however, traces of his working process are evident. It is precisely this aspect of the autograph that makes it fascinating. Reading it, one is witness to Wagner’s highlyconcentrated, powerful and relentless writing. This manuscript is in every possible way unparalleled reflecting individuality and uniqueness. In time for the 200th anniversary of Wagner’s birth in 2013, this great work will be published as a BÄRENREITER FACSIMILE in cooperation with the National Archive of the Richard-Wagner-Stiftung Bayreuth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composing and later used for sketches. Ulrich Konrad, the renowned musicologist describes the genesis and performance history of the work in his comprehensive commentary. He also details the physical appearance and condition of the autograph as well as giving an insight into the musical language of Wagner.

SAGGIO INTRODUTTIVO A CURA DI GIOVANNI MORELLI / Oeuvres Théâtrales/Oratorios Et Ballets

Ed. Tradizionale - Full Score. Par VERDI GIUSEPPE. / Répertoire / Oeuvres Théâtrales/Oratorios et Ballets

SAGGIO INTRODUTTIVO A CURA DI MICHAEL TALBOT / Oeuvres Théâtrales/Oratorios Et Ballets