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Cajon (10)
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Lyrics only (10)
CD (10)
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DVD concert (9)
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2 Choeurs Mixtes (SATB Et SATB… (7)
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:: (4)
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Djembe (4)
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Melody line, Piano (4)
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Voice and Big Band (3)
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String Quartet : 4 violas (3)
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1 Piano, 6 hands (3)
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Violon II (3)
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3 Guitares Cubaines Tablatures… (2)
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2-6 Flûtes à Bec [Aa/St/Stt/… (2)
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Voice (2)
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Solistes (ATB), Choeur Mixte (… (2)
Cornet and Piano (2)
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Voice Mezzo-Soprano, Orchestra… (2)
4 Percussions (2)
Ensemble Flexible à 5 Parties… (2)
Livret (2)
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MAND::Mandolin (2)
Orchestre d'Harmonie 4 Voix et… (2)
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Ukulélé Soprano (2)
8 Bassoons (2)
Double bass, Orchestra (2)
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Basse Electrique (2)
Basse, Alto, Ténor et Piano (2)
REC/VLN/VLA/VLC::Fl–te … B… (2)
Baryton et 4 Voix D'Hommes (2)
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Voix Haute (2)
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Musique de chambre (2)
Guitar (band part) (2)
Oboe, Cello and Piano (2)
Clarinette (2)
Violoncelle, Contrebasse Et Ba… (2)
2 Flutes and Guitar (2)
Voix Elevée(s)/Moyenne(s) Et … (2)
Mandoline et Violon (2)
Trompette04 (2)
Chœur Mixte SATB et Quatuor … (2)
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Carte Postale (2)
Piano, Guitar (duet) (2)
Solistes (AT) Et Choeur Mixte (2)
Lyrics & Chords (2)
Concert Band / Harmonie (2)
String Trio: 3 violins (2)
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Male Voice (2)
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Choeur De Femmes (SSA) Et Pian… (2)
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12 Parties de Choeur a Cappell… (2)
Baritone Ukulele (2)
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Die Harmonie der Welt Teil C (HINDEMITH PAUL)
Opera
Schott
Par HINDEMITH PAUL. The opera is set in a variety of locations between the years...
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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
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Io RCT 45 (RAMEAU JEAN-PHILIPPE)
Opera
Barenreiter
Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rame...
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Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rameau's operatic oeuvre, 'Io' is certainly the work shrouded in the most mystery: the acte de ballet has survived only in the form of a copy of the score and parts which was made by a collector from the generation after Rameau from the autograph that now is lost. Although the copy seems to have been used, presumably for a trial read-through, the work was apparently never regularly performed during Rameau's lifetime. And for good reason: the work breaks off abruptly at the beginning of the divertissement; neither the librettist nor a plan for a theatre location are known. Because of its incompleteness, 'Io' was long regarded as Rameau's last work, but there is much to suggest that the composition must have been written between 1740 and 1745. The introduction to this edition examines the references regarding the dating as well as various hypotheses about performance possibilities and librettists. The plot revolves around one of those typical mythological flirtations that are inevitably to be expected when Jupiter and a nymph, here Io, are involved. With the appearance of madness, La Folia, the work reaches a dramaturgical climax. However after this, the opera breaks off. In order to make the piece performable, the editors of ?Opera Omnia Rameau? propose an addition to the divertissement as well as an ending borrowed from the ballet bouffon 'Platée' in its 1745 version, which shows numerous parallels to 'Io'. Thus, these additions come as close as possible to Rameau's style of the 1740s while bringing the plot to a conclusion. - Fragmentary work completed with original music by Rameau - Based on the score of ?Opera Omnia Rameau?, Volume V/1 - Particularly suitable for academies and conservatories as few soloists are required and the few choral movements can be sung by soloists / Date parution : 2023-06-01/ Répertoire / Opéra
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Adam: Toreador Ou L'Accord Parfait: Mixed Choir: Vocal Score
Opera
[Vocal Score]
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Advanced
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Inspired by models from the Commedia dell?Arte the plot is set in Seville and p...
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Inspired by models from the Commedia dell?Arte the plot is set in Seville and presents the old ?Greybeard? Don Belflor (a retired bullfighter and womanizer) his young wife Coraline and her lover Tracolin. In a highly contemporary way this leads to a three-way relationship of which everyone approves. The ?accord parfait? is a perfect triad consisting of exactly three notes. It is noticeable that the libretti of the Second Republic were no longer subject to censor.Two arias were planned for each role. As a flautist Tracolin also knows how to evoke famous melodies from the French opera repertoire in his advances. The centrepieces are the two trios.Oneof these the variation number ?Ah! vous dirai-je maman ? is the jewel of the opera: here vocal virtuosity and the comedy of the situation are combined with brilliant ease.The Vocal score is based on the first scholarly-critical edition of the opera. This appears in the series ? L'Opéra français ? edited by Paul Prévost. Here the spoken dialogue text is integrated with the music for the first time.Based on the Urtext of the new series ? L?Opéra français ?.Original French text with singing German translation.Extensive foreword (Fr/Ger/Eng).Full score (BA8701) and Vocal score (BA8701-90) available for sale and performance material available for hire.
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Christoph Willibald Gluck: Orphee et Euridice: Opera: Score
Opera
[Score]
Barenreiter
Tragédie-opéra Drame héroïque en trois actes-Christoph Willibald Gluck?s mos...
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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
358.00 GBP - Sold by Musicroom UK
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Zoroastre rct 62B (RAMEAU JEAN-PHILIPPE)
Opera
Barenreiter
Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Ra...
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Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Rameau?s ?Zoroastre? in the version of 1756. Opera in five acts. Rameau?s revised version of his opera ?Zoroastre?, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today?s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau?s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime ?Hymne à la Lumière?, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with ?Zoroastre? the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck?s opera reform by many years. - One of Rameau?s main works for the stage, now available with all its versions - With a straight-forward piano reduction in the vocal score by François Saint-Yves - Available on sale full score (B0A8867-01) and vocal score (BA08867-90) - Performance material available for hire BA08867-72 - Jean-Philippe Rameau - Opera Omnia (OOR) IV/26 / Date parution : 2022-07-30/ Répertoire / Chant et Piano
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Richard Danielpour: Margaret Garner: Opera: Vocal Score
Opera
[Sheet music]
Associated
Opera Vocal Score-'More than anything else Margaret Garner is an opera that rem...
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Opera Vocal Score-'More than anything else Margaret Garner is an opera that reminds us that we all belong to the same human family and it demonstrates what can happen when we forget this fundamental truth... - RichardDanielpour This Opera by Grammy-winning composer Richard Danielpour tells the story of Margaret Garner an enslaved African-American woman in pre-Civil War America who gained notoriety for killing her owndaughter to prevent her from suffering the degradation of a life of slavery. In this adaptation of the famous tale Edward Gaines acquires his deceased brother’s Kentucky estate and pledges to let all of the slave familieson the Maplewood Plantation stay together. However when he takes a special interest in one of the slaves Margaret Garner it is not long before her husband Robert is sent away alone to another plantation. One night Robertsneaks back to Maplewood and attempts to escape with Margaret and their children to the ‘Free State’ of Ohio. They are caught and Margaret murders her children in a crime of passion sparing them from a life of slavery. Margaretis condemned to death and although she is granted clemency at the last minute she chooses the freedom of the gallows over life as a slave. The tragic work features a libretto by Toni Morrison and gained highcritical praise at its first performance in Philadelphia in 2006. Watch a clip from the performance here:
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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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William Schwenck Gilbert Arthur Sullivan: Utopia Limited: Voice & Piano: Vocal
Opera
[Sheet music]
-
Intermediate/advanced
Faber Music Limited
Having a rather idealistic view of England and the English people King Paramoun...
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Having a rather idealistic view of England and the English people King Paramount of the south sea island of Utopia decides that his people should adopt all English customs and fashions and that the kingdom should become a company limited.Utopia Limited or The Flowers Of Progress is a Savoy Opera with music by Arthur Sullivan and Libretto by W.S. Gilbert. It was the second-to-last of Gilbert and Sullivan's fourteen collaborations premiering on October 7 1893 for a run of 245 performances.Available here is the vocal score of the Opera.
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André Previn: A Streetcar Named Desire: Mixed Choir: Vocal Score
Opera
[Sheet music]
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Advanced
Schirmer
Conductor composer and pianist André Previn continues to redefine the possibi...
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Conductor composer and pianist André Previn continues to redefine the possibilities in his extraordinary career already one of the most distinguished musicians of our time. This wonderful opera in three acts is based onthe famous play by Tennessee Williams and with the libretto by Philip Littell Previn has beautifully created music which truly evokes a sense of place and setting and reflects the fragility violence and passions of thecharacters. Available here is the piano/vocal score of Previn?s marvelous work which was commissioned by San Francisco Opera and premiered on 19th September 1998.
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Georg Friedrich Händel: Messiah (Oratorio 1741): Mixed Choir: Vocal Score
Opera
[Vocal Score]
Schirmer
Although slow to be accepted in England where the public thought it was blasphe...
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Although slow to be accepted in England where the public thought it was blasphemous the Messiah is now Handel's best-known oratorio and well-loved worldwide. It is for four soloists SATB chorus and orchestral which is here replaced by a piano accompaniment. This is the Schirmer edition of the Vocal Score revised according to the original score by Max Spicker and edited by T. Tertius Noble.
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Richard Wagner: Siegfried: Opera: Score
Opera
[Score]
Dover Publications
in Full score-The third Ring opera 'Siegfried' is here carefully reproduced fro...
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in Full score-The third Ring opera 'Siegfried' is here carefully reproduced from the authoritative edition of 1876 which Wagner himself approved.
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Richard Wagner: Die Walkure: Opera: Score
Opera
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Advanced
Dover Publications
in Full Score-This is the second Ring opera in performing sequence. It is the mo...
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in Full Score-This is the second Ring opera in performing sequence. It is the most popular and the most frequently-performed of the operas. Superbly reprinted here in the authoritative C.F. Peters edition. Leipzig c 1910.
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Wolfgang Amadeus Mozart: Deh Vieni Alla Finestra: Opera: Vocal Work
Opera
[Vocal Score]
Ricordi
Deh Vieni Alla Finestra is a delightful aria from Mozart's famous opera Don Gio...
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Deh Vieni Alla Finestra is a delightful aria from Mozart's famous opera Don Giovanni available here for Baritone voice with Piano accompaniment.
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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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Johann Strauss Ii Die Fledermaus Opera - Opera
Opera
Schirmer
Description Johann Strauss II: Die Fledermaus (Vocal Score) The Bat. English ...
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Description Johann Strauss II: Die Fledermaus (Vocal Score) The Bat. English version by Ruth and Thomas Martin. Songlist Ah, My Lady Says (Strauss) Champagne's Delicious Bubbles (Strauss) Come Along To The Ball (Strauss) Drinking Song (Strauss) Ever Since I Was A Baby (Strauss) From Time To Time (Strauss) Good Sir, Are You Accusing Me (Strauss) How Engaging (Strauss) My Friends, Your Kind Attention (Strauss) No, You Set My Doubts (Strauss) Oh, Eisenstein, You Mastermind (Strauss) To Judge His Expression (Strauss) To Part Is Such Sweet Sorrow (Strauss) Turtledove Who Flew Aloft (Strauss) Voice Of My Homeland (Strauss) What A Joy To Be Here (Strauss) When These Lawyers Don't (Strauss)
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Thomas Adès: The Tempest: Opera: Vocal Score
Opera
[Sheet music]
Faber Music Limited
Opera in 3 acts Text: Meredith Oakes after Shakespeare-The opera The Tempest i...
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Opera in 3 acts Text: Meredith Oakes after Shakespeare-The opera The Tempest is inspired by Shakespeareâ??s play rather than literally being based on every aspect of it. There are key images from the play as well as new material. From among the playâ??s many themes and possible interpretations the opera focusses on the difficulty and the necessity of mercy. The libretto uses contemporary vocabulary. Its lines are short rhythmic and rhymed or semi-rhymed echoing Shakespeareâ??s strophic songs more than his blank verse. This choice reflects the playâ??s magical ritual childlike elements and acknowledges the traditional power of incantation in song. The operatic Prospero is the passionately vengeful man seen in the play more than the wise disconnected actor also seen there. Despite his near-omnipotence he finds things out as he goes along and experiences contradictory emotions to the end. Please note: Full Score and Parts are rental material. Please contact hire@fabermusic.com
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Jean-Philippe Rameau: Les Indes Galantes RCT 44: Opera: Vocal Score
Opera
[Sheet music]
Barenreiter
Ballet Heroïque With A Prologue and Four Acts-The main body of the new edition ...
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Ballet Heroïque With A Prologue and Four Acts-The main body of the new edition of Les Indes galantes published in Opera Omnia Rameau (OOR IV.2 7) restores the version authorised by Rameau in 1736. This basic editorial decision has made it possible to present a fully coherent and authenticated reading of the work (after the adjustments from the earliest performances). All other versions before and after 1736 are gathered together in 19 appendices.Sylvie Bouissou?s new edition differs markedly from previous modern editions and all existing recordings. With its appendices she does justice to the performer?s need for Rameau?s various revisions while finally making accessible a version actually authorised byRameau. For the first time it is presented in its complete stylistic and dramatic context.Practical vocal score by François Saint-Yves for keyboard accompanimentBased on a reassessment of all sources and versionsDestined to have a clear impact on performances of Rameau?s magnum opusUrtext edition from the Rameau edition 'Opera omnia'.Full score (BA8860) and vocal score (BA8860-90) available for sale.Performance material (BA8860-72) available for hire.
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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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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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Georg Friedrich Händel: Xerxes (Serse): Opera: Vocal Score
Opera
[Sheet music]
Chester
Georg Frideric Händel?s Serse (Xerxes) has everything one would expect from a B...
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Georg Frideric Händel?s Serse (Xerxes) has everything one would expect from a Baroque opera - many intertwining love stories affairs intrigues scheming misunderstanding and forgiving allpresented in the great master?s magnificent music.The opera is set in Persia in 480 BC and is very loosely based upon Xerxes I of Persia though there is little in either the Baroque libretto or music that is relevant tothat setting the main focus is on the characters (Serse Arsamene Amastre Romilda Atalanta Ariodate and Elviro some of which are based on real historical persons) and their plotting. The English version forthe opera in three acts was made for the English National Opera?s production first performed in 1985 on the 300th anniversary of Händel?s birth.In this edition of the Vocal score with the original Italian and thelater English lyrics accompaniment is provided by the instruments indicated in the orchestration (2 Recorders (or Flutes) 2 Oboes 2 Horns in F Trumpet in D Strings and Continuo [Harpsichord Cello Double Bass Bassoon]) butcan also be played by the Piano. Serse?s part originally sung by a castrato can be performed by a Soprano or a Countertenor.
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Giuseppe Verdi: Rigoletto: Opera: Libretto
Opera
Schirmer
The libretto for Giuseppe Verdi's 'Rigoletto' was adapted by Francesco Maria Pia...
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The libretto for Giuseppe Verdi's 'Rigoletto' was adapted by Francesco Maria Piave from Victor Hugo's play Le roi s'amuse which was so controversial it had been banned in Paris after one performance. Le roi here isthe Duke a renowned womaniser who seduces ladies as their husbands are taunted by his hunchback jester Rigoletto. An elderly nobleman Monterone curses them both for seducing his daughter and Ceprano whose wife has been withthe Duke plots with the courtiers to punish him.Rigoletto is suspected of keeping a mistress so while Rigoletto is out the Duke slips into his house and finding Rigolettoâ??s daughter Gilda he proffers his love to herand she is smitten. After he leaves the courtiers break in and carry off Gilda to the Dukeâ??s bedchamber. Soon Rigoletto enters and realises the mistake just in time as the dishevelled Gilda runs in. As Monterone is led to thedungeon Rigoletto vows to avenge them both. Rigoletto pays the assassin Sparafucile to murder the Duke as his sister Maddalena flirts with him. However Maddalena persuades her brother to kill not the Duke but the nextvisitor to the inn instead so overhearing and resolving to sacrifice herself for the Duke Gilda enters the inn and is stabbed. Rigoletto finds Gilda dying and begging forgiveness: Monterone's curse is fulfilled.This isthe Schirmer edition of the Libretto in the original Italian with an English version by Ruth and Thomas Martin.
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Alan Jay Lerner Frederick Loewe: Camelot: Opera: Libretto
Opera
[Libretti]
Faber Music Limited
Camelot is a popular Musical which also received a film adaptation in 1967. Ava...
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Camelot is a popular Musical which also received a film adaptation in 1967. Available here is the Libretto for the Musical with book and lyrics by Alan Jay Lerner and music by Frederick Loewe. The show is based on the King Arthur legend as based on the T.H. White novel The Once and Future King.
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Poul Ruders: The Thirteenth Child: Opera: Score
Opera
[Sheet music]
Wilhelm Hansen
A Fairytale Opera In Two Acts-The Thirteenth Child - A Fairytale Opera In Two Ac...
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A Fairytale Opera In Two Acts-The Thirteenth Child - A Fairytale Opera In Two Acts by Poul Ruders (2014-15). Libretto by Becky Starobin and David Starobin. Scenario by Becky Starobin. Suggested by 'The Twelve Brothers' by the Brothers Grimm. SYNOPSIS Act 1 Scene 1 The neighboring Kingdoms of Frohagord and Hauven are in crisis. Following a warning by his embittered cousin Drokan Regent of Hauven King Hjarne of Frohagord is convinced that his twelve sons are plotting to overthrow him. The twelve princes oblivious to their father's paranoia play in the courtyard. The enraged King threatensthe safety of his sons telling his pregnant wife Queen Gertrude that she must provide him with a female heir as 'only she shall wear the crown'. Gertrude calms Hjarne and they sing of the Lilies of Frohagord magical flowers that protect the kingdom. When Benjamin the youngest prince innocently plucks a lily from the garden Hjarne flies into a mad rage and strikes Gertrude. Drokan observing the encounter admits his love for Gertrude and feels 'the trembling of the earth'. Act 1 Scene 2 Eighteen years have passed and King Hjarne has just died. At Hjarne's funeral Frederic Drokan and the mourners tell of the mysterious disappearance of the King's thirteen children and the shadows that haunt the kingdom. Queen Gertrude now mortally ill and her daughter Princess Lyra enter the Royal Chapel. Gertrude is repelled by the sight of Drokan while Frederic is drawn to Lyra. Drokan plots to usurp the Kingdom of Frohagord and Frederic dreams of the day when Lyra will be his. Act 1 Scene 3 Queen Gertrude is on her deathbed attended by Princess Lyra. Lyra asks her mother why she was sent away. Gertrude has Lyra open a secret drawer where Lyra finds twelve shirts
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Luís Tinoco: Paint Me: Opera: Score
Opera
[Score]
University Of York Music Press
Luis Tinoco (Composer) and Stephen Plaice (Libretto) wrote 'Paint Me' and Opera...
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Luis Tinoco (Composer) and Stephen Plaice (Libretto) wrote 'Paint Me' and Opera for six singers and Chamber Orchestra.Rui Horta and Joana Carneiro are responsible for the stage direction and the musicaldirection.'My idea in writing Paint Me was to bring together six characters all of whom have a prolific imaginative interior life and to explore what they would make of each other in the confines of a railwaycompartment. The model for my libretto is Geoffrey Chaucer’s The Canterbury Tales. The travellers in Paint Me are also on their way to Canterbury but they are strangers thrown together by the randomness of modern travel. Theirtales are not told publicly but in their own imaginations. Most journeys in the modern age are anonymous and conducted in silence. We have only a visual or perhaps manneristic impression of the people sitting opposite us. Thisintrospection in public opens up a private fantasy space in which our fellow travellers can become the characters in instant psychological dramatisations.I wanted to formalize each character’s fantasy into a full narrative. Theresult is a kind of anthology of operatic short stories surrounded by the framework of an ordinary journey.' - Stephen Plaice
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Giacomo Puccini: Puccini's La Bohème: Mixed Choir a Cappella: Libretto
Opera
[Libretti]
Amadeus Press
The Complete Libretto-The enticing music of Puccini's La Bohème perfectly con...
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The Complete Libretto-The enticing music of Puccini's La Bohème perfectly conveys the enchantment of new young love and the anguish that comes with loss and death. This gorgeous souvenir libretto includes extensive background notes and photos from productions staged through the years by the Metropolitan Opera.There's a reason La Bohème has been staged at the Met more often than any other Opera. The passionate and timeless story of love among impoverished young artists in Paris has a marvelous ability to make a powerful first impression (even on those new to Opera) and to reveal unexpected treasures after dozens of hearings.At firstglance La Bohème is the definitive depiction of the joys and sorrows of love and loss; on closer inspection it reveals the deep emotional significance hidden in the trivial things (a bonnet an old overcoat a chance meeting with a neighbor) that make up our everyday lives. This touching story of tenderness and tragedy never fails to move audiences and melt hearts.
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Georg Friedrich Händel: Ariodante HWV 33: Mixed Choir: Vocal Score
Opera
[Vocal Score]
Barenreiter
Opera in 3 acts; Also available for sale full score (BA4079) and performance mat...
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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
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