Par MOZART WOLFGANG AMADEUS. Editeur(s) d'origine: Levi, H. -Link, J. -D./ Répertoire / Opéra

Par MOZART WOLFGANG AMADEUS. Editeur(s) d'origine: Levi, H. / Klengel, P./ Répertoire / Opéra

Par MOZART WOLFGANG AMADEUS. Editeur(s) d'origine: Levi, H. -Wüllner, F./ Répertoire / Opéra

Tragédie-opéra Drame héroïque en trois actes-Christoph Willibald Gluck?s most popular opera ?Orphée et Euridice? was performed in 1774 in Paris to sensational success. This new adaption followed the original Viennese version with Italian text that was first performed in 1762 under the direction of the composer in the Burgtheater. For the Paris version Gluck changed the leading part Orpheus from an alto to a tenor role and composed new recitatives.Both versions of Gluck?s reform drama are based on a libretto by Ranieri de? Calzabigi and revolutionised metastasian opera of the 18th century. Solo and choral music instrumental music pantomime and dance are all closely connected; the myth replaces a historical plotsurrounded by intrigue; where there would have been a da-capo aria there are now simple song forms and coloratura is largely abandoned. These meticulously revised vocal scores of both versions are also newly set.Urtext editions based on ?Gluck The Complete Works?Revised and newly setThe revised editions are compatible with the old editionsT48Full score (BA2282-01) and vocal score (BA2282-90) available for salePerformance material (BA2282-72) available for hire

'Fidelio' Ludwig van Beethoven's only opera takes as its subject a theme close to the composer's heart: the defeat of tyranny through man's innate desire for liberty. The libretto was fashioned by Joseph Sonnleithner after Jean Bouilly's Leonore (1798) and revised by Leipzig-born playwright and poet Georg Friedrich Treitschke with Beethoven in 1814. It concerns Leonore's attempts to free her political-prisoner husband Florestan from the prison of the evil Pizarro by disguising herself as a man Fidelio and working in the prison. The music in 'Fidelio' is unassailably great and blazes with Beethoven's steadfast commitment to liberty and humanity.This is the Schirmeredition of the Vocal Score and contains an English translation by Theodore Baker and an essay by H.E. Krehbiel.

Pastorale Héroïque In One Act-The heroic pastoral Daphnis et Eglé was performed only once on 29 October 1753 for the entertainment of King Louis XV at Fontainebleau and remained unpublished until today.This edition is based on Rameau's autograph manuscript a copy of the separate parts and the libretto published by Ballard in 1753. A comparison of the sources reveals two versions of the work: the original version and the one revised for Fontainebleau whereby the differences lie mainly in the final divertissement. This edition recommends the Fontainebleau version?which is actually more complete in its musical form in particular with its overture and two ariettas?but also reconstructs theoriginal state of the final divertissement (presented in the appendix) before it was revised.Urtext edition from the Rameau edition 'Opera omnia'.Full score (BA8862) and vocal score (BA8862-90) available for sale.Performance material (BA8862-72) available for hire.

Par WALLEN ERROLLYN. 2S.2Mez.T.Bar.South African Singer.Young Child Soli - SATB Chorus - 1.0.1.1 - 1.1.1.0 - Percussion - Piano ElecBassGuitare H p - Str(3.2.2.1) - Durée: 45 min / Contemporain / Répertoire / Opéra

Poursuivant la petite histoire de l'art lyrique français, Germaine Tailleferre et Denise Centore évoquent maintenant le grand style réaliste tel que l'ont pratiqué, entre autres compositeurs, Gustave Charpentier et Alfred Bruneau, qui ont osé amener sur la scène lyrique, le langage de tous les jours et le costume du prolétaire. L'action de la Pauvre Eugénie se situe à Paris en 1905, dans un atelier de lingerie, celui de Madame Phémie, qui a un mari, Monsieur Ernesse, et trois ouvrières : Titine la gavroche, Paula la sentimentale, et Eugénie, l'héroïne de cette histoire, ou plutôt, de ces tranches de vie, selon le style de l'époque. C'est le pendant musical des Rougon-Macquart de Zola. Gégène n'apparaîtra qu'à l'heure du dénouement. Au début de l'opéra, dans l'atelier, les trois ouvrières travaillent à des jupons de linon ennuagés de dentelle, et la mauvaise humeur de Monsieur Ernest s'exprime à la cantonade. Madame Phémie, la femme de ce dernier, presse ses ouvrières et découvre qu'Eugénie mange du saucisson à l'ail. Eugénie est mise à la porte pour cette faute grave et, désespérée, elle veut se jeter dans la Seine. Titine et Paula, horrifiées, lui parlent de l'enfant qu'elle a eu avec Monsieur J. Duplan, qui devait l'épouser. Elle ne peut pas l'abandonner. Soudain, on frappe à la porte, et apparaît Gégène qui vient livrer un boa pour Madame Phémie. Indignation de Titine et Paula, Madame Phémie va mettre un boa alors qu'elle a mis à la porte une fille-mère ! Gégène, indigné, veut voir Eugénie, dont il tombe amoureux ! Tout est bien qui finit bien, Eugénie part avec Gégène, quittant ainsi celle qui l'exploitait.Le dernier opéra évoque la période d'Offenbach, il s'agit de Monsieur Petitpois achète un château. Les personnages, en costume Second Empire, évoluent dans un château médiéval proche de Romorantin. C'est le domaine ancestral de Monsieur le Duc de la Bombardière. Le duc a un fils, lieutenant hussard et joli garçon, une servante familière et dévouée, Cunégonde, nourrice d'Adélestan, et un notaire compétent, Maître Pointillard. Mais il n'a pas d'argent, tout au moins, commence-t-il à n'en avoir plus assez. Il lui faut vendre son château, et il attend la visite d'un acquéreur éventuel, Monsieur Petitpois. Il s'entretient de l'affaire avec son notaire, et ne dédaignera pas de prendre l'avis de Madame Cunégonde, sa servante, sitôt terminée l'ouverture de l'opéra. / Orchestre / Partition

Opera in three acts-Lotario HWV 26Opera in three actsHandel???s opera Lotario was first heard at the King???s Theater in the Haymarket on 2 December 1729 and had a run of nine performances. Though never revived in the composer???s lifetime Handel reused many of its arias in his later operas sometimes altering the words.The historical background of the plot is the conflict between Otto I (912 973) and Berengar of Ivrea for the Italian crown and Otto???s marriage to the Italian queen Adelaide in 951. In the course of composition the name of the hero (???Ottone??? in Salvi???s libretto) was altered to ???Lotario??? since Handel had already written an opera entitled Ottone on thelife of Otto II (955 983) in 1722.The vocal score contains the version composed for the performances of December 1729 and January 1730. It is based on the Urtext of the Halle Handel Edition.- Urtext of the Halle Handel Edition.- Full score (BA4074) and vocal score (BA4074-90) available for sale.- Performance material (BA4074-72) available for hire

Opera in 3 acts; Also available for sale full score (BA4079) and performance material for hire.'Ariodante? was the first work which Handel composed for the Theatre Royal in Covent Garden after his contract with the King?s Theatre Haymarket ran out in mid-1734.?Ariodante? stands out amongst Handel?s opera works by means of its combination of excellent and challenging music coupled with a first-class plot. There is probably no other Handel opera which contains such a wealth of striking and catchy arias as are found in the first act of ? Ariodante ? alone. The three wide-ranging arias composed for thecastrato Carestini are amongst the greatest bravura pieces.The plot is based on an episode in Ariosto?s epic ? Orlando furioso ? (1516). The central event of the drama the trick with which Duke Polinesso convinces his commander Ariodante that Ginevra is unfaithful was also used by Shakespeare in ?Much Ado About Nothing?.The Vocal score is based on Donald Burrows? 2007 Urtext edition in the ?Halle Handel? Edition (Series II/32). It therefore reflects the latest in musicological research. Based on the Urtext of the Halle Handel EditionStraightforward and easy-to-play Piano reductionOriginal Italian text with German singing translation

Opera in three acts-Complete version. Full Opera Score. This accurate and authoritative Barenreiter Urtext edition is suitable for both study and performance.

Opera's greatest love story, set to music of incomparable beauty, Tristan und Isolde represents one of the nineteenth century's most revolutionary scores. Wagner's 1865 adaptation of a popular medieval legend changed the course of musical history and opened the door to twentieth-century innovations. Inspired by an illicit passion of his own, Wagner filled this tale of a doomed romance with a sense of desperate longing, conveyed by his blending of tonality, blurring of keys, and innovative use of repetitive leitmotifs. This reprint of Richard Kleinmichel's authoritative Breitkopf

As with many other libretti by Pietro Metastasio ?Ezio? was also set to music several times besides Handel by Nicola Porpora in 1728 and Christoph Willibald Gluck in 1750. As the historical events from late antiquity surrounding the Western Roman General Aëtius who had defeated the Huns under Attila on the Catalaunian Fields had largely fallen into oblivion by the 18th century they merely form a backdrop to the highly-dramatic ?Sex and Crime? on the operatic stage. In contrast with the original Roman story ?Ezio? remains alive at the ?happy ending? and the enthusiastic public experienced this version for the first timeon 15 January 1732 in London.However despite this the opera only received five performances during Handel?s lifetime. Handel took the overture from his incomplete opera ?Titus l?Empereur?.Performance material available for hire.Vocal score based on the Halle Handel Edition.Original Italian text with German singing translation underlaid.Figured bass realisation and editorial additions in cue-sized notes.Detailed foreword (Ger/Eng)