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CHORAL - VOCAL - CHOIR
Opera
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Scipione Affricano (CAVALLI FRANCESCO)
Opera
Barenreiter
Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two do...
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Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two dozen operas he had written for Venice had helped establish Venice as the world’s first operatic superpower. “Scipione Affricano” (Venice 1664), Cavalli’s first opera after returning from France, was one of his most successful compositions. In a period that valued new works over familiar ones, “Scipione” was one of a handful of operas to live on after its premiere season: it was revived eight times and chosen to inaugurate Rome’s Teatro Tordinona in 1671. Cavalli’s librettist, Nicolò Minato, was inspired by historical accounts of the life of the Roman general Scipio, whose defeat of Carthage in 202 BCE earned him the honorary agnomen “Africanus.” In setting Minato’s libretto, Cavalli drew upon the lyrical gifts that have made operas like “La Calisto” and “Giasone” so popular today. But at the same time “Scipione Affricano” also shows the composer embracing aspects of his two years in France, and responding to musical changes that, in the 1660s, were rapidly altering the face of Italian opera: the growing dominance of arias, a clearer sense of aria organization, and increased interplay between voice and instruments. The first goal of this edition is a practical one: to develop a version of the opera suited to the needs of both professional and student performers. A second goal is to reconstruct the opera’s complete performance history. An amply documented appendix reconstructs earlier versions of 21 arias. Other appendices print the surviving additional music from revivals in Rome and Venice. The edition is framed by a substantial Introduction, covering the drama, the musical style, the composition, premiere, and revivals, and a guide for performance today, plus a detailed “decoding” of the sources. - series Francesco Cavalli – Opere / Date parution : 2022-11-08/ Répertoire / Opéra
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Antonio Vivaldi: La Griselda RV 718: Opera
Opera
Ricordi
Ed. critica delle opere di A. Vivaldi - Riduzione per canto e pianoforte di A. F...
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Ed. critica delle opere di A. Vivaldi - Riduzione per canto e pianoforte di A. Frigé-The present reduction derives from the critical edition of the score just published in this catalog. La Griselda was composed and performed in Venice in the spring of 1735 for the occasion of the Ascensiontide fair (Sensa). The taskof adapting the libretto by Apostolo Zeno to the particular exigencies of the production was assigned to a young writer of comedies attached to the company led by Giuseppe Imer: Carlo Goldoni. The latter immortalized in his Mémoires hismeeting with Vivaldi and the composer?s inseparable prima donna the contralto Anna Giraud confessing to having been forced against his will to ?assassinate? Zeno?s drama at the composer?s whim. La Griselda was favourably received bythe audience at the San Samuele theatre remained the sole opera by Vivaldi to be staged at a theatre owned by the powerful Grimani family. The present edition includes a synthetic introduction of the historical context the description of the mainsource employed and a choice of the critical Notes to the musical text.
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Recueil ? Airs d?opéra (VIVALDI ANTONIO) (VIVALDI ANTONIO)
Français
Opera
Editions Buissonnieres
Par VIVALDI ANTONIO. C'est seulement en 1713 que Vivaldi aborde l'opéra ; certa...
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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. Les 30 airs de ce recueil sont proposés en réduction chant-clavier, pour voix de contre-ténor, extraits des opéras : Andromeda Liberata, Ottone in villa, L'Olimpiade, Tietiberga, Tito Manlio, Il Tigrane, Bajazet, Il Giustino, Olando finto pazzo, La Verità in cimento, La Fida nonfa, Orlando Furioso. / Date parution : 2014-07-01/ Recueil / Contre Ténor
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Cavalli Francesco - La Calisto - Conducteur
Opera
Barenreiter
Cavalli, Francesco La Calisto Dramma per musica in three acts Urtext from France...
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Cavalli, Francesco La Calisto Dramma per musica in three acts Urtext from Francesco Cavalli - Opere Edition no. TP 891 ISMN 9790006205356 ?La Calisto? received its first performance in Venice in 1651 but only really achieved its breakthrough in the 20th century. It is one of Cavalli?s most frequently-performed operas today. The reason for this success may have been the late acknowledgement of its masterly dramatic and musical structure. The musical text is not presented in the usual small study score format, but in the vocal score format (19 x 27 cm). This results in an optimal and well-presented layout of the work. The study score is ideal for analysis as well as for rehearsing the vocal parts. - Reduced-size full score based on the first volume of the new Bärenreiter series, ?Francesco Cavalli ? Opere? - Reflects the latest state of research - Foreword (Eng) by the editor - English translation of the libretto included separately (not singable) - Practical for study and rehearsing the vocal parts
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Giustino - Rv 717 (VIVALDI ANTONIO)
Opera
[Score]
Ricordi
Ed. Critica R. Strohm, Softcover. Par VIVALDI ANTONIO. / Opéra-opérette / D...
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Ed. Critica R. Strohm, Softcover. Par VIVALDI ANTONIO. / Opéra-opérette / Date parution : 1905-06-14/ Répertoire / Opéra
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Composizione Nella Musica Legg (POLES VALTER)
Opera
[Sheet music]
Berben Edizioni Musicali
Par POLES VALTER. / Autre FM / Opéra Théorique ou Didactique
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Germaine Tailleferre : 4 Opéras Bouffes Vol.2 - La Pauvre Eugénie / M. Petitpois Achète Un Château
Français
Opera
Billaudot
Poursuivant la petite histoire de l'art lyrique français, Germaine Tailleferre ...
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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
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Hector Berlioz: Benvenuto Cellini: Opera: Score
Opera
[Sheet music]
-
Advanced
Barenreiter
Benvenuto Cellini, premiered in 1838, is inspired by the life of the legendary F...
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Benvenuto Cellini, premiered in 1838, is inspired by the life of the legendary Florentine goldsmith and Renaissance figure. The premiere was a disatster yet even by Berlioz?s high standards it contains music of exceptional inventiveness and beauty. The work is challenging not least due to the three versions which exist: the original version (Paris 1) as Berlioz composed it the version premiered in Paris (Paris 2) after rehearsal and copied into an archival full score the Weimar version based on the revival in 1852 following changes suggested by Liszt Our edition offers a solution to the problem of publishing operas which have been heavily revised by their composers, so that any of its many versions may be adopted on stage today. Urtext of the New Berlioz Edition Full score (BA5441) and vocal score (French) with a supplementary libretto French-German (BA5441-90) available for sale Performance material (BA5441-72) available for hire
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Hector Berlioz: Benvenuto Cellini: Opera: Vocal Score
Opera
Barenreiter
Benvenuto Cellini premiered in 1838 is inspired by the life of the legendary F...
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Benvenuto Cellini premiered in 1838 is inspired by the life of the legendary Florentine goldsmith and Renaissance figure. The premiere was a disatster yet even by Berlioz???s high standards it contains music of exceptional inventiveness and beauty.The work is challenging not least due to the three versions which exist:the original version (Paris 1) as Berlioz composed itthe version premiered in Paris (Paris 2) after rehearsal and copied into an archival full scorethe Weimar version based on the revival in 1852 following changes suggested by LisztOur edition offers a solution to the problem of publishing operas which have been heavilyrevised by their composers so that any of its many versions may be adopted on stage today.Urtext of the New Berlioz EditionFull score (BA5441) and vocal score (French) with a supplementary libretto French-German (BA5441-90) available for salePerformance material (BA5441-72) available for hire
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Faust (GOUNOD CHARLES)
Opera
[Sheet music]
Barenreiter
Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second...
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Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version) Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.) Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique. Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra
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Il Tito (Score/Vocal Score): Opera: Score
Opera
[Sheet music]
Novello & Co Ltd.
Opera in three acts edited by Alan Curtis. This opera was first performed in Ve...
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Opera in three acts edited by Alan Curtis. This opera was first performed in Venice in 1666. It may with justice be considered to be the finest opera written between Monteverdi's 'Poppea' and the dramatic works of the mature Purcell. Having in 1983 presided over the first modern revival of 'Il Tito' in Innsbruck the city of its original commissioning Alan Curtis has now produced the first complete performing edition to be drawn from available sources.
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Georg Friedrich Händel: Tamerlano HWV 40: Mixed Choir: Score
Opera
[Sheet music]
Barenreiter
Dramma per musica in thre acts-Tamerlano HWV 18; Dramma per musica in 3 acts Han...
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Dramma per musica in thre acts-Tamerlano HWV 18; Dramma per musica in 3 acts Handel began the composition of Tamerlano one of the supreme masterpieces of Baroque opera seria on 3rd July 1724. The libretto was an adaptation by Nicola Haym of Agostino Piovene's Tamerlano Tragedia per musica which had been set to music by Francesco Gasparini and performed in Venice in 1711. When Handel dated the last page of the autograph on 4rd July the work appeared to be complete; but during the three months which passed before the premiere at the King's Theatre in the Haymarket on 31 October so many alterations and revisions were made that a fresh performing-score had to be writtern very late inthe proceedings to replace an earlier one which is now 1ost.There were twelve performances between 31 October 1724 and 8 May 1725. Handel revived the opera only once in 1731 for three performances. For this revival he marked in the performing score a number of cuts in the recitatives which are reproduced in the present edition; there is more recitative in Tamerlano than in any other Handel opera.Urtext of the Halle Handel Edition.Full score (BA4052) and vocal score (BA4052-90) available for sale Performance material (BA4052-72) available for hire
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Jacques Offenbach: Monsieur Choufleuri Restera Chez Lui Le...: Mixed Choir:
Opera
[Sheet music]
Bote and Bock
Opérette-Bouffe En Un Acte-An opera buffa in one act by Offenbach in Germany m...
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Opérette-Bouffe En Un Acte-An opera buffa in one act by Offenbach in Germany mainly known under the title of 'Salon Pritzelsberger' which has enjoyed continuous popularity since its world premiere in 1860 until the present day. Since original performance materials were lost after the death of the composer several numbers like the overture and the legendary Trio italien could not be reconstructed in their original instrumentation. Therefore the access to the autograph of the score granted to the editor Jean-Christophe Keck by the descendants of Offenbach was of inestimable value in order to publish this gem of opera literature in an authentic source-critical edition for the first time. In theirvariant of the 'Bourgeois Gentleman' Offenbach and his co-author the Duc de Morny President of the Ministry of Internal Affairs under Napoleon III make fun not only of the airs and graces of the nouveaux riches but also of the musical star cult of the 19th century which apparently was hardly any different from that of today?
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Georges Bizet: Les Pêcheurs De Perles: Opera: Score
Opera
[Sheet music]
Dover Publications
A pair of men take an oath of eternal friendship but their vow is threatened by ...
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A pair of men take an oath of eternal friendship but their vow is threatened by their attraction to the same woman. The object of their rivalry faces her own dilemma torn between worldly passion and her calling as a priestess.Their romantic triangle forms the heart of this 1863 opera Les Pêcheurs De Perles (The Pearl Fishers) in which the composer of Carmen the world's most popular opera made his first mark.Set in ancientCeylon this enchanting tale of friendship love and betrayal has been performed in Opera houses around the world. The famous Baritone/Tenor duet in the second act is among the most recorded of Opera highlights and a copy of thefull score is essential for conductors as well as for students of composition and orchestration. This large-format version of Bizet's three-act Opera offers musicians an affordable alternative to high-priced hard-to-findeditions.
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Gioachino Rossini: Mosè In Egitto (Volume 1 + 2): Voice: Vocal Score
Opera
[Sheet music]
Ricordi
Ed. critica di Charles S. Brauner - Riduzione per canto e pianoforte-Mosè in Eg...
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Ed. critica di Charles S. Brauner - Riduzione per canto e pianoforte-Mosè in Egitto (1818) is the fourth of the nine opere serie that Rossini composed for Naples between 1815 and 1822. As his letters to his mother show Rossini was very proud of this opera considering it an especially fine achievement that might appeal more to posterity than to the audiences of his day. In fact it proved to be one of his most frequently performed opere serie. The present reduction for voice and piano in two volumes derives from the critical edition of the score published by Fondazione Rossini Pesaro in collaboration with Casa Ricordi by Charles S. Brauner: the edition is based mainly on the autograph score now housed in theBibliothèque nationale de France in Paris. This autograph score is complete but it is not completely autograph and many sections have offered some problems for the reconstruction of the text: the recitative in Act I and the Aria Mosè in Act II are not by Rossini the first five recitatives in Act II are not in Rossini’s hand and may or may not be by Rossini also not in Rossini’s hand is the Aria Amaltea although undoubtedly by Rossini because borrowed from his earlier opera Ciro in Babilonia. The Preface and the Critical Commentary offer for the first time some valid tools to reconstruct the entire history of the opera since the first performance in Naples (1818 1819) to the Parisian ones (1822 – 1840). In particular in the appendices are included the original Aria Faraone which composed by Michele Carafa for the first two productions of the opera in Naples in 1818 and 1819 was later replaced by the Aria Faraone Rossini himself composed in 1820 and in Appendix II the new ending of the recitative following Duetto N. 3 which Rossini composed for one of the Parisian performances after 1822.
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Wolfgang Amadeus Mozart: Lucio Silla K.135: Voice: Vocal Score
Opera
[Sheet music]
Barenreiter
Lucio Silla K. 135Dramma per musica in three actsOn 13 December 1769 Leopold Moz...
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Lucio Silla K. 135Dramma per musica in three actsOn 13 December 1769 Leopold Mozart and his son Wolfgang set out on their first tour of Italy. It was not until 28 March 1771 that they finally returned to Salzburg. The trip brought the young composer two commissions for opere serie. In March 1770 he was commissioned to write Mitridate K.87 (74a) for the 1770–71 Carneval season at the Regio Ducal Teatro in Milan. Mozart started work on the opera in Bologna on 29 September 1770 and the première duly took place on the Feast of St. Stephen (26 December) in 1770. The second Lucio Silla (K. 135) again commissioned for the 1771–72 Carneval season inMilan doubtless resulted from the success of Mitridate. News of the commission reached the Mozarts in March 1771 in Verona where they had stopped on their return to Salzburg. (At roughly the same time Wolfgang received an invitation from Vienna to supply a serenata teatrale for the wedding of Archduke Ferdinand the third son of Maria Theresia scheduled to take place in Milan in October 1771. This invitation ultimately resulted in Ascanio in Alba K. 111.)- Urtext of the New Mozart Edition- Full score (BA4590-01) and vocal score (BA4590-90) available for sale- Performance material (BA4590-72) available for hire
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Decouvrir L'Opera Francais: Vocal Album
Français
Opera
[Book + CD]
Heugel
Pour Mezzo Soprano Ou Contralto-Born in Laval Françoise Semellaz studied in Le...
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Pour Mezzo Soprano Ou Contralto-Born in Laval Françoise Semellaz studied in Le Mans and Paris before embarking on a successful teaching career. Currently a professor at the Lille Conservatoire she devotes herself to classical singing. As a vocalist herself this compilation of Decouvrir L'Opera Français is well-informed. Containing airs for Mezzo-Sopranos and Contraltos the accompaniment is helpfully recorded on the CD included. Airs include those by Boiëldieu Delibes Gounod Massenet Offenbach Saint-Saëns and Thomas. With a detailed preface and wide selection of Airs Semellaz's Decouvrir L'OperaFrançais is essential to all aspiring advanced Mezzo-Sopranos and Contraltos.
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Monteverdi C. - L'orfeo - Vocal Score
Opera
[Vocal Score]
Barenreiter
Monteverdi’s opera “L’Orfeo”, based on the legend of Thracian singer Orp...
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Monteverdi’s opera “L’Orfeo”, based on the legend of Thracian singer Orpheus and his love of Eurydice, is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the “Palazzo Ducale” in Mantua. When an edition remains true to its sources, this certainly does not mean that it is not also practical to use, as is demonstrated in this Bärenreiter edition of Monteverdi’s “L’Orfeo”. Edited by Rinaldo Alessandrini, the new publication follows the Bärenreiter edition of Monteverdi’s “Il ritorno d’Ulisse in patria”. Two contemporary prints of “L’Orfeo” from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However, when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants, not only between the two editions but also amongst the eight surviving copies, are listed in the critical commentary. This edition of “L’Orfeo” offers in addition to Monteverdi’s somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should, however, feel free to follow his own judgment. The notation has been, when necessary, adapted to suit modern practice, for example with regard to the clefs. The sections that were originally written in “chiavetta” have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower. - Detailed introduction by the editor (Ital/Eng/Ger) on the work’s genesis and performance practice - Comprehensive critical commentary (Eng) in the score - Idiomatic piano reduction Edition no.: BA 8793-90 ISMN: 9790006533121 Composer / Author: Monteverdi, Claudio Title: L'Orfeo Favola in musica in one prologue and five acts Detailed instrumentation: Soprano solo (7), Tenor solo (4), Bass solo (3), Mixed choir: SSATTB, Male choir: TTBBB, Orchestra Librettist: Striggio, Alessandro (junior) Editor: Alessandrini, Rinaldo Foreword / Introduction: Alessandrini, Rinaldo Product format: Piano reduction, Urtext edition Language(s) of work: Italian Language(s) of text: German, Italian, English Publisher: Bärenreiter Binding: Paperback Print run: 1st printing 2012 Pages / Format: XIV, 143 S. - 27,0 x 19,0 cm Weight: 428 g
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Teoria Musicale 1 Corso (ANZAGHI LUIGI ORESTE)
Opera
[Sheet music]
Carisch
Par ANZAGHI LUIGI ORESTE. Sonore, noms des sons, du personnel, prestation de son...
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Par ANZAGHI LUIGI ORESTE. Sonore, noms des sons, du personnel, prestation de sons en rigo, valeurs musicales, mesure, temps, temps Division, subdivision du times, prolongation de sons, tons et de demi-tons, teinte, ressemblant à des échelles, l'échelle cro, …/ Théorie / Opéra Théorique ou Didactique
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Georg Friedrich Händel: Parnasso In Festa HWV 73: Mixed Choir: Vocal Score
Opera
[Sheet music]
Barenreiter
Per Gli Sponsali Di Teti e Peleo - HWV 73-The main text of this edition of Hande...
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Per Gli Sponsali Di Teti e Peleo - HWV 73-The main text of this edition of Handel?s wedding serenata ?Parnasso in festa per gli sponsali di Teti e Peleo? (HWV 73) is based on the version used for the work?s first performances in March of 1734. Three appendices retrace the complex history of the work significantly different versions of which were used for revival performances in 1737 1740 and 1741. Included are abandoned and modified parts of the score as well as a documentation of changes made to the characters.Handel composed ?Parnasso in festa? for the wedding of Anne Princess Royal and Prince William of Orange which took place on March 14 1734 in London. As Handel?s contribution to the publicfestivities the serenata was performed the evening before the nuptials at King?s Theatre in the Haymarket. The bridal couple attended the performance.While the Italian text of the serenata was newly set most likely by Giacomo Rossi most of the music was drawn from pieces of Handel?s earlier works among them ?Athalia? from ?Radamisto? (HWV 12a) ?Il trionfo del Tempo e del Disinganno? (HWV 46a) and ?Delirio amoroso? (HWV 99). Newly composed parts are limited to eight vocal pieces the sinfonia at the beginning of part 3 and the beginning of the overture. The available source material reflects the history of the work: There is no autograph composition score while the conducting score reflects a collaboration between Handel and his main copyist John Christopher Smith senior. However composition scores of individual newly composed pieces have been preserved.New edition based on the latest research after thorough examination of all relevant primary and secondary sourcesExtensive editorial Foreword about the work?s conception mythological background transmission reception and a survey of sources (Ger/Eng) with extensive critical report (Eng)Selected musical facsimiles as well as complete facsimile of the printed libretto of 1734Urtext of the Halle Handel EditionFull score (BA10718-01) and vocal score (BA10718-90) available for salePerformance material (BA10718-72) available for hire
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Pietro Mascagni: Cavalleria Rusticana: Opera: Libretto
Opera
Schirmer
Cavalleria rusticana (Rustic Chivalry) is one of the primary examples of Italian...
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Cavalleria rusticana (Rustic Chivalry) is one of the primary examples of Italian realism. It was both the best and worst thing that happened to Mascagni for its success - never to be repeated - weighed upon the composer all hislife. Based on Vergaâ??s play of the same name the libretto by Targioni-Tozzetti runs as follows: Lola and Turiddu had been lovers but when Turiddu went away to battle Lola married Alfio. When Turiddu returned he and Lolacontinued their affair secretly while he tried to make Lola jealous by starting a casual affair with Santuzza who fell genuinely in love with him. On Easter Sunday Santuzza realising the affair goes to see Turiddu'smother Lucia who keeps a tavern in the village. She is horrified to learn of her sonâ??s infidelity and leaves for the church just missing Turiddu who saunters in thinking of his night with Lola. He is surprised and annoyed tofind Santuzza there and the two begin to quarrel. Lola makes things worse by appearing and taunting Santuzza. Turiddu finally hits Santuzza and escapes.Santuzza tells Alfio of the illicit affair whereupon Alfio flies intoa rage and swears that he will avenge himself the code of honour requires Turiddu's blood to be shed. According to tradition he refuses a glass of wine from Turiddu indicating the dispute and the two make plans to fight.Rushing into the tavern Turiddu bids his mother her to take care of Santuzza. Mamma Lucia is alarmed and as he rushes off Santuzza enters and throws her arms around Lucia's neck just as a woman screams that Turiddu has beenkilled.This is the Schirmer edition of the Libretto in the original Italian with an English translation by Joseph Machlis.
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Richard Wagner: Die Walküre: Opera: Libretto
Opera
Schirmer
Of the four episodes of the 'Ring Cycle' 'Die Walkure' is most often performed ...
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Of the four episodes of the 'Ring Cycle' 'Die Walkure' is most often performed separately and may be Wagner?s best-loved work. The source of this affection is certainly the sensitive depictions of Siegmund and Sieglinde's loveand the father-daughter relationship of Wotan and Brünnhilde.Siegmund stumbles into an unfamiliar house Sieglinde?s for shelter and the two fall for each other quickly. However Sieglinde's husband (from a forcedmarriage) Hunding is a kinsman of Siegmund?s foes and challenges Siegmund to a duel. Sieglinde gives Hunding a sleeping potion and the two realise they are brother and sister. Siegmund claims Sieglinde as his bride. Watching Wotan and Fricka tell Brünnhilde that she must defend Hunding's marriage rights. Brünnhilde sets out to observe the lovers. When Sieglinde falls asleep Brünnhilde berates Siegmund but when he argues she decides to help him.Hunding and Siegmund battle when Siegmund is about to win however Wotan appears and shatters his sword; he is killed. Brünnhilde escapes with Sieglinde and the broken sword. Wotan fells Hunding with a wave of his handand leaves to punish Brünnhilde. Sieglinde realises she bears Siegmund's child so takes the pieces of the sword and rushes off into the forest to hide. Brünnhilde herself flees to the Valkyries' Rock to hide but Wotan fins herand sentences her to become a mortal woman: she must lie in sleep to be claimed by any man who finds her but behind a wall of fire that only the bravest hero can pierce. This is the Schirmer edition of the Libretto inthe original German with an nglish translation by Stewart Robb.
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Teoria Musicale 2 Corso (ANZAGHI LUIGI ORESTE)
Opera
[Sheet music]
Volonte and Co
Par ANZAGHI LUIGI ORESTE. Rythme, rythme mixtes mesures-tuplets embellissements,...
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Par ANZAGHI LUIGI ORESTE. Rythme, rythme mixtes mesures-tuplets embellissements, intervalles, cordes, signes de mouvement, expression, abréviations./ Théorie / Opéra Théorique ou Didactique
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Georg Friedrich Händel: Messiah - Full Score: Mixed Choir: Vocal Score
Opera
[Vocal Score]
Dover Publications
Handel?s masterpiece Messiah the most frequently performed of his choral works ...
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Handel?s masterpiece Messiah the most frequently performed of his choral works composed in 1741. An inspiring sacred oratorio with spontaneous melodies and bright orchestration from the first aria Every Valley Shall Be Exalted to the thunderous final Amen chorus. Complete full score edited by Alfred Mann.
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Cuadernos Audic V.4 Alumno (IBANEZ / CURSA)
Español
Opera
[Sheet music]
Real Musical
Par IBANEZ / CURSA. Nueva metodología de Lenguaje Musical. En este cuarto libro...
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Par IBANEZ / CURSA. Nueva metodología de Lenguaje Musical. En este cuarto libro, en el aspecto rítmico, se abarca un conjunto de valores rítmicos básicos que resumen el nivel del grado elemental y que permiten diferenciar los pulsos binarios y ternarios con sus subdiviscorrespondientes. En el aspecto melódico, distinción entre el modo mayor y menor, intervalos melódicos y armónicos simples en cuanto a su número y especie, acordes mayores y menores, la frase musical y los cuatro tipo de escalas menores. Todo ello endo dentro de las tonalidades que tienen hasta tres alteraciones en su armadura. Como en el resto de la colección, el curso consta de un libro del profesor (con respuestas) y un libro del alumno (con fichas perforadas). Ambos presentan la misma pagina/ Solfège/Formation Musicale / Opéra Théorique ou Didactique
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Cuadernos Audic V.4 Profe (IBANEZ / CURSA)
Español
Opera
[Sheet music]
Real Musical
Par IBANEZ / CURSA. Nueva metodología de Lenguaje Musical. En este cuarto libro...
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Par IBANEZ / CURSA. Nueva metodología de Lenguaje Musical. En este cuarto libro, en el aspecto rítmico, se abarca un conjunto de valores rítmicos básicos que resumen el nivel del grado elemental y que permiten diferenciar los pulsos binarios y ternarios con sus subdiviscorrespondientes. En el aspecto melódico, distinción entre el modo mayor y menor, intervalos melódicos y armónicos simples en cuanto a su número y especie, acordes mayores y menores, la frase musical y los cuatro tipo de escalas menores. Todo ello endo dentro de las tonalidades que tienen hasta tres alteraciones en su armadura. Como en el resto de la colección, el curso consta de un libro del profesor (con respuestas) y un libro del alumno (con fichas perforadas). Ambos presentan la misma pagina/ Solfège/Formation Musicale / Opéra Théorique ou Didactique
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Cuadernos Audic V.3 Profe (IBANEZ / CURSA)
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Par IBANEZ / CURSA. Nueva metodología de Lenguaje Musical. En este tercer libro...
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Par IBANEZ / CURSA. Nueva metodología de Lenguaje Musical. En este tercer libro, en el aspecto rítmico, se contempla: corchea-dos semicorcheas y viceversa, compás 6/8 con ritmos de tres corcheas y negra-corchea, el ritmo binario corchea con puntillo-semicorchea. En el a melódico, distinción entre el modo mayor y menor, los intervalos melódicos simples, la sensible en modos menores y las tonalidades que tienen hasta dos alteraciones en la armadura. El libro del profesor, contiene las respuestas correctas del alumno fichas de trabajo del alumno están perforadas y son facilmente extraíbles, por si el profesor considera oportuno corregirlas individualmente. Ambos presentan la misma paginación./ Solfège/Formation Musicale / Opéra Théorique ou Didactique
23.90 EUR - Sold by LMI-partitions
(Seller in french langage)
Pre-shipment lead time:
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