Full Score-Thomas Adès? The Tempest one of the most striking and successful operas of recent years is available for the first timeas a beautifully produced limited-edition full score. Featuring the stunning image ?Octopus? by artist Claire Burbridge this unique cased edition includes colour plates of exclusive images from Adès? original handwritten score and sketches. Each copy is signed and numbered by the composer. From the turbulent orchestral prelude with which it begins to Ariel?s stratospheric yet ethereal ?Five fathoms deep? and the radiant quintet of reconciliation inits final act Thomas Adès conjures up a wholly compelling musical world in The Tempest.Responding to librettist Meredith Oakes? clear unfussy refashioning of Shakespeare into formalised rhyme schemes Adès has created a new kind of tonal language that is both direct and communicative but also indelibly contemporary.? Limited to 250 copies with signed and numbered limitation page.? Cased square back and sewn.? Endpapers feature original artwork ?The Firmament? by Claire Burbridge.? Case features original artwork ?Octopus? by Claire Burbridge printed in neon Pantone 809 with scratch-proof matt lamination and high gloss uv.? Black book-block edges ribbon and head

An Opera in Three Acts-Adès?s third opera The Exterminating Angel premiered at the Salzburg Festival in July 2016. Based on Luis Buñuel?s surrealist classic El ángel exterminador the opera sees a collection of society?s grandees inexplicably trapped in a room.The libretto adapted from the original Buñuel-Alcoriza screenplay by the composer together with the director Tom Cairns brilliantly captures their descent into anarchy. Featuring a jaw-dropping 15 principals (who remain on stage for the majority of the piece) The Exterminating Angel is a true ensemble opera and the skill with which Adès delineates the many intricacies and undercurrents present over itsdensely-packed span (just under two hours plus interval) is breathtaking. Like the shipwrecked characters of The Tempest the cast of this new opera are held in a state of entrapment and dramatic stasis. Like the glittering high-society world of Powder Her Face the dinner party guests are denizens of a nightmarish world of aristocratic pretension.

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

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

Opéra comique en un acte-Hardback full score; also available vocal score for sale (BA2293-90) & performance material for hire (BA2293). The fact that “op?ra comique” rooted in the folk art of the French vaudeville was brought to its high-point by Gluck a German composer working in Italian clearly demonstrates the close relationships and interconnections made in European musical life in the mid-18th century. With “L’Ile De Merlin Ou Le Monde Renvers?” Gluck created an enchanting buffo work which draws its charm not only from its colourful music with appealing details of instrumentation andcharacterisation but also from the juxtaposition of real mythological and fairy-tale figures as well as from the critical social undertones in the libretto. The new edition is based on the Gluck Complete Edition Series IV volume 1 edited by G?nter Hau?wald. Based on the Urtext of “Gluck Complete Works”. Original French text with singing German translation. Detailed foreword in the vocal score (Ger/Eng/Fr).

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

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

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

Opera Full Score-The first opera written for television 'Amahl and the Night Visitors' has become the most frequently performed opera of all time with over five hundred performances annually across the world. Menotti's take on theChristmas story focuses on Amahl a young handicapped boy and his mother who are visited by three Kings -- Balthazar Melchior and Kaspar -- who are on their way to find Jesus. The Kings stay the night during which Amahl'smother tries to steal some of the Kings' gold and is caught in the act. Melchior suggests that she keep the gold because the child they are visiting will rule his kingdom with love not riches. Amahl's mother gives back the gold wishing she had something to give of her own. Amahl offers his crutch as a gift and suddenly is able to walk. He decides to follow the Kings so that he himself may give his crutch to the Christ child.The work is ideal foran amateur performance (for example a secondary school or a local dramatic society) since all the action takes place in one act and one place and the work calls for limited adaptable musical forces. It also gives each principala chance to shine either in a solo or an ensemble.This is the Schirmer hardback edition of the full score.

Opera in Two Acts Piano/Vocal Score. Par HARBISON JOHN. F. Scott Fitzgerald's classic novel The Great Gatsby was adapted into a two-act opera in 1999 featuring words and music by John Harbison. This book presents all 11 scenes from the opera in a complete piano/vocal score. F. Scott Fitzgerald's classic novel The Great Gatsby was adapted into a two-act opera in 1999 featuring words and music by John Harbison. This book presents all 11 scenes from the opera in a complete piano/vocal score. / Opéra-opérette / Répertoire / Opéra

Par AEBERSOLD JAMEY. Basic/intermediate. This nearly two-hour long DVD features Jamey at the piano explaining and demonstrating the fundamental techniques used by all great jazz improvisors. Topics covered include chord/scale relationships, keeping your place, patterns, the blues and pentatonic scales and their application, what and how to practice, articulation, memorizing songs, and much more. This DVD not only provides the technical information essential to getting started on improvisation but also serves as an overview of the entire creative process in terms that even a non-musician could understand. Jamey also provides much needed motivational material and discusses the philosophy of man'sneed to be creative. A complete presentation! This DVD is closely aligned with the world famous Volume 1 'How To Play Jazz' and Volume 24 'Major and Minor' play-a-longs (see 'related items' below. ) The visual, hands-on demonstration makes their concepts easier to grasp. Jamey even plays along with tracks from those two play-a-long volumes, showing proper application of scales to chords and essential practice techniques. / Jazz / Accessoire / Opéra Théorique ou Didactique

5-act restauration with notations for an alternative 4-act version-Don Carlos which debuted in 1867 ranks among the composer's most complex and challenging works. Based on the verse play by Schiller about tragic love and intrigue at the court of Philip II of Spain the opera features a rich assortment of memorable characters and dramatic situations. Verdi revised the work twice incorporating his changing musical ideas into a thoroughly revised Italian translation of the five act work with optional cuts for a four-act version. This new edition is of the final version reprinted from the authoritative G.Ricordi edition.

Lohengrin is regarded as Wagner's most fairy-story-like opera its plot interweaving motives from the world of legends and medieval history. The opera was premiered at the Weimar Court Theatre on 28 August 1850 under the direction of Franz Liszt in the composer's absence.This new Eulenburg study score edition follows the Wagner Complete Edition which is based on the autograph score representing the first critical edition of Lohengrin. Previous editions were based on the 1914 edition of the score which differed from the autograph in many details and was published by Michael Balling as part of the first complete edition which has remained unfinished.The original musical text isnow available in a handy format for the first time - and is perfectly suited for study purposes.With German/English preface and Critical Report!

Opera. Par BARRY GERALD. Gerald Barry's new opera is based on Lewis Carroll's two beloved books, Alice's Adventures in Wonderland and Through the Looking Glass. As with Barry's last opera, the lauded The Importance of Being Earnest, the composer has created the libretto himself from the author's original texts. Thus, the work remains faithful to many aspects of the Alice story but is trimmed and compressed into a compact 70-minute opera in one act. Barry's characteristic highspeed energy and riotous sense of humour propel the action forward in this surreal plunge into the depths of Wonderland./ Répertoire / Opéra