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Gene
HARP
Opera
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Passion, Poison And Pertrification Or The Fatal Gazogene (TAUB BRUCE)
Opera
Peters
or the Fatal Gazogene. Par TAUB BRUCE. A Chamber Opera after George Bernard Shaw...
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or the Fatal Gazogene. Par TAUB BRUCE. A Chamber Opera after George Bernard Shaw Text: English / Contemporain / Répertoire / Opéra
72.90 EUR - Sold by LMI-partitions
(Seller in french langage)
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Amadeo Vives: La Generala Opereta En Dos Actos: Opera: Vocal Score
Español
Opera
[Sheet music]
Unión Musical Ediciones
La Generala Opereta En Dos Actos
26.99 GBP - Sold by Musicroom UK
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Jean-Philippe Rameau: Dardanus: Opera: Score
Opera
Barenreiter
Trag?die en un prologue et cinq actes-The first version of ???Dardanus??? which...
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Trag?die en un prologue et cinq actes-The first version of ???Dardanus??? which was performed at the end of 1739 was composed apparently in only six months and marks a particularly productive phase in Rameau???s career. In a period of only six years five of his major works were performed at the Acad?mie Royale de Musique in Paris.The theme is taken from Greek mythology: the opera describes the war between Teucer (the future founder of Troy) his Phrygian people and the army of Dardanus.A milestone of French Baroque opera in a performance practice orientated vocal scoreWith a brief foreword (Fr/Eng) containing salient information on the genesis of the work the synopsis and the editionFull score (BA8854) and vocal score (BA8854-90) available for salePerformance material (BA8854-72) available for hire
505.50 GBP - Sold by Musicroom UK
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Claudio Monteverdi: L'incoronazione Di Poppea: Opera: Vocal Score
Opera
[Vocal Score]
Barenreiter
Opera Regia With A Prologue and Three Acts-Drawing on the definitive scholarly-c...
(+)
Opera Regia With A Prologue and Three Acts-Drawing on the definitive scholarly-critical edition by Hendrik Schulze et al. the renowned conductor harpsichordist and organist Jörg Halubek has joined forces with students from the State University of Music and Performing Arts Stuttgart to present a historically informed piano reduction of Claudio Monteverdi?s exciting final opera ?L?incoronazione di Poppea?.The vocal score contains all the appendices found in the full score and includes an uncluttered piano reduction that lies well on the instrument. Rounding off the edition is a detailed musicological Foreword (Ger/Eng) by Emily Hagen providing information on the work?s genesis the history of its performance andreception. In addition there is a Foreword on performance practice by early music specialist Jörg Halubek.
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Georg Friedrich Händel: Arminio HWV 36: Opera: Score
Opera
[Sheet music]
Barenreiter
Opera in tre atti-Antonio Salvi’s “Arminio” is one of the best...
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Opera in tre atti-Antonio Salvi’s “Arminio” is one of the best-loved operatic librettos of the Baroque period.Against the historical background of the so-called “Battle of the Teutoburg Forest” in 9 AD in which the Cherusci leader Arminius as “Liberator of Germany” (Tacitus) inflicted a devastating defeat on the Romans Handel’s opera first performed in 1737 is about the disputes between the Chatti and the Cherusci. Arminius has married the daughter of his arch-enemy Segestes. When he is imprisoned Segestes who has conspired with the Romans sees his opportunity for revenge.- Urtextedition based on the “Halle Handel Edition”- Libretto in Italian with singable German translation- Comprehensive foreword (Ger/Eng) with important information on the history of the libretto as well as on the genesis and the performance history of the work. A detailed resume of the plot is also contained.- Extensive appendix with richly ornamented versions of two arias- Idiomatic piano reduction in the vocal score- Full score (BA4100) and vocal score (BA4100-90) available for sale- Performance material (BA4100-72) for hire
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Berenice, Regina d'Egitto HWV 38 (HAENDEL GEORG FRIEDRICH)
Opera
[Sheet music]
Barenreiter
Operas in three acts Version of the premiere, London 1737. Par HAENDEL GEORG FRI...
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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
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Samson Et Dalila (SAINT-SAENS CAMILLE)
Opera
[Sheet music]
Barenreiter
Opera In Three Acts. Par SAINT-SAENS CAMILLE. Today, 'Samson et Dalila? is undou...
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Opera In Three Acts. Par SAINT-SAENS CAMILLE. Today, 'Samson et Dalila? is undoubtedly one of the best-known of Camille Saint-Saëns's thirteen operas, being more present in the repertoire of international stages than most other French 19th century compositions. During Saint-Saëns's lifetime, the opera was already regarded as the pinnacle of his dramatic stage works. The fact that the work's genesis and first performances nonetheless posed substantial difficulties is shown in this edition by Andreas Jacob and Fabien Guilloux (libretto edition). A detailed recount of this complex history, based on meticulous comparisons of all libretti and other musical sources, is the great merit of this critical edition. The edition contains the full score, edited versions of both original libretti, a historical Foreword (Fr/En/Ger), a Critical Commentary (Eng), facsimile pages of 'Livret de mise-en-scène? from the first Paris production, and a musical appendix containing the 'Air de Ballet? (which was inserted before the Bacchanale in act 3 for performances at the Paris Opéra). The underlaid text in the score is presented in two languages and contains the libretto text by Ferdinand Lemaire as well as the text of the Weimar premiere by Richard Pohl (1877), a performance that was initiated by Franz Liszt./ Répertoire / Chant et Orchestre
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Janacek L. - Fate - Vocal Score
Opera
-
Intermediate/advanced
Barenreiter
Janácek, Leos Fate Three Novel-like Scenes Details Edition no.: BA 9562-90 IS...
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Janácek, Leos Fate Three Novel-like Scenes Details Edition no.: BA 9562-90 ISMN: 9790260107045 Editor: Zahrádka, Jirí Arranger: Baumann, Rasmus Language(s) of work: Czech, German Language(s) of text: Czech, German, English Product format: Piano reduction, Urtext edition Binding: Paperback Pages / Format: XXXVII, 237 S. - 27,0 x 19,0 cm Janácek’s opera “Osud” is an extraordinary example of the creative boldness of the composer and presents demanding dramaturgical challenges. This new critical edition is based on a thorough comparison of all surviving sources. The principle source is a copyist’s copy of authorised by Janácek in which all revisions are marked. Further sources include a manuscript copy of the vocal score together with the orchestral parts and various copies of the libretto. The score of this new edition will be published as part of the “Complete Critical Edition of the Works of Leoš Janácek”. • First critical edition of this opera • Foreword on the genesis of the work and its reception by Jirí Zahrádka (Cz/Eng/Ger) • New idiomatic piano reduction by Rasmus Baumann • Singable German translation
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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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Educacion Musical V.2 (ESCUDERO MARIO)
Español
Opera
[Sheet music]
Real Musical
Par ESCUDERO MARIO. Los objetivos generales son: lograr que el niño ame la mús...
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Par ESCUDERO MARIO. Los objetivos generales son: lograr que el niño ame la música y se exprese por medio de ella - Detectar problemas motrices, auditivos y de lenguaje - Contribuir al desarrollo de la relación espacio-tiempo - Favorecer el desarrollo integral del niño. Losivos específicos: Desarrollo del ritmo, del oído y de la voz - Fomento de la creatividad - Desarrollo de la sensibilidad musical./ Solfège/Formation Musicale / Opéra Théorique ou Didactique
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Georg Friedrich Händel: Ezio HWV 29: Mixed Choir: Vocal Score
Opera
[Sheet music]
Barenreiter
As with many other libretti by Pietro Metastasio ?Ezio? was also set to music s...
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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)
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Wagner R. - Tristan Und Isolde Wwv 90 - Facsimile
Opera
Barenreiter
Edition no.: BVK 2270 ISBN: 9783761822708 Volume / Series: Documenta musicologic...
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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.
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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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Le Comte Ory -Opera In Two Acts-
Opera
Barenreiter
Mit ?Le comte Ory' erscheint der fünfte Band aus der vielbeachteten Reihe ?Work...
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Mit ?Le comte Ory' erscheint der fünfte Band aus der vielbeachteten Reihe ?Works of Gioachino Rossini'. Nach seiner Uraufführung in Paris feierte das Werk große Erfolge an den europäischen Bühnen des 19. Jahrhunderts. Die turbulente Komödie um den Grafen Ory, der sich mit seinen wüsten Kumpanen Zutritt zu einem Nonnenkloster verschafft, ist eines von Rossinis effektvollsten Meisterwerken.Der Herausgeber Damien Colas legt in Zusammenarbeit mit dem ?Center for Italian Opera Studies Chicago' eine kritische Neuausgabe vor, die unter Heranziehung einer Vielzahl von Quellen einen originalen Text des Werkes präsentiert, der in vielen Fällen von der bislang erklungenen Überlieferung abweicht. So konnten originale Besetzungen, formale Verläufe und zahlreiche fragliche Lesarten wieder hergestellt bzw. korrigiert werden. / Opéra
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Giuseppe Verdi: Il trovatore: Opera
Opera
Ricordi
Edited by David Lawton-The Works of Giuseppe Verdi is the first critical edition...
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Edited by David Lawton-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 introductionto the score outlines the work’s genesis sources and performance history while the critical commentary discusses all editorial decisions.
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Gian Carlo Menotti: The Medium: Opera: Libretto
Opera
Schirmer
Menotti's 'The Medium' is something of a cautionary tale which had its genesis ...
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Menotti's 'The Medium' is something of a cautionary tale which had its genesis in a séance attended by the composer himself. The plot of the libretto (by Menotti himself) runs as follows: Living in conditions of near-squalor Baba poses as a medium with her daughter Monica posing as ghosts from the beyond. She takes in Toby a mute as a lodger but distrusts him. The business continues until during a séance she feels a 'cold hand' tightening abouther throat. When her customers return for another session she tells them that she is a fake and demonstrates her tricks but her clients protest that she must be real that it was not Monica's voice they heard. She drives themout and resolves to cast out Toby as well. When Toby returns she shoots and inadvertently kills him. At the conclusion she still wonders if it had been Toby. This Libretto is in English only.
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Faust
Opera
Barenreiter
'Faust? stands for the composer Gounod himself, who was torn between the express...
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'Faust? stands for the composer Gounod himself, who was torn between the expression of excessive sensuality and a deep spirituality which he was searching for in his Catholic faith. As such, in this most important musical setting of Goethe's drama, the work was given a deeply personal interpretation. With a detailed Foreword (Fr/Eng/Ger) this new edition presents the genesis of the work with its various, during Gounod's lifetime, completely sung versions.The main version of our edition was performed at the Paris Opéra on 3 March 1869. However, simple cross references in the score enable a reconstruction of the earlier and later stages of this work for performance. Rounding off this publication is a critical edition of the libretto. All available sources are described and the Critical Commentary provides information about any changes made to the individual numbers.The two earlier Faust versions with spoken dialogue will be included in a separate volume within this series (in preparation, BA 8714). / Opéra
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MENDELSSOHN F. - LOBGESANG OP.52 -VOCAL SCORE
Opera
Barenreiter
Mendelssohn Bartholdy, Felix
Lobgesang / Hymn of Praise op. 52 MWV A 18
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Mendelssohn Bartholdy, Felix
Lobgesang / Hymn of Praise op. 52 MWV A 18
A Symphony-Cantata after Texts from the Holy Scriptures
- Urtext edition taking all sources into account
- Piano reduction by the composer including his piano version of the ?Sinfonia?
- Extensive Foreword (Ger/Eng) and detailed Critical Commentary (Eng)
Mendelssohn?s contemporaries frequently mentioned his ?Hymn of Praise? in the same breath as Beethoven?s Ninth ? and often enough viewed it as an imitation. Mendelssohn authority John Michael Cooper, in his extensive Introduction to this new Urtext edition, shows that the comparison is completely unfounded: with this work Mendelssohn created a new genre to which he gave the name ?symphony-cantata?. Later he added a secular counterpart with ?Die Erste Walpurgisnacht?.
Drawing on all relevant sources, Cooper provides a detailed account of the genesis and structure of this monumental work. Rounding off his scholarly performing edition are notes on the work?s performance, e.g. tempo, articulation and dynamics.
For the first time the piano reduction includes Mendelssohn?s authorised version of the ?Sinfonia?, based on the first edition of No. 1 for piano solo. / Partitions classique / Vocale - chorale / Choeur et ensemble vocal / BARENREITER
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Neoklassizismus. Dialog Mit Der Geschichte (SCHERLIESS VOLKER)
Opera
[Sheet music]
Barenreiter
Par SCHERLIESS VOLKER. / Méthode / Livre
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Eugene Onegin Op. 24 Cw 5 (TCHAIKOVSKI PIOTR ILITCH)
Opera
Simrock
Par TCHAIKOVSKI PIOTR ILITCH. Lyrical Scenes In 3 Acts/ Répertoire / Livret d'O...
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Par TCHAIKOVSKI PIOTR ILITCH. Lyrical Scenes In 3 Acts/ Répertoire / Livret d'Opéra
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Eugene Onegin Op. 24 Cw 5 (TCHAIKOVSKI PIOTR ILITCH)
Opera
Simrock
Par TCHAIKOVSKI PIOTR ILITCH. Lyrical Scenes In 3 Actes/ Répertoire / Livret d'...
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Par TCHAIKOVSKI PIOTR ILITCH. Lyrical Scenes In 3 Actes/ Répertoire / Livret d'Opéra
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Cantates, Canons, Airs
Opera
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/ Divers / Partition
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Musique Vocale Profane, Vol.1: Cantates Pour Voix De Dessus. Canons
Opera
[Score and Parts]
Barenreiter
/ Divers / Partition
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Musique Vocale Profane, Vol.2: Cantates Pour Voix De Basse Et En Duo. Airs (RAMEAU JEAN-PHILIPPE)
Opera
Barenreiter
Par RAMEAU JEAN-PHILIPPE. / Répertoire / Chant
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