Phaedra by German composer Hans Werner Henze is a 'concert opera' in two acts whose first performance was given at the Berlin State Opera in 2007. Phaedra was Henze's penultimateopera and this item presents the vocal score with the entire work lasting around 75 minutes.?The parts are for Mezzo-Soprano Soprano Tenor Countertenor Bass Baritone as well as a mime. Featuring aunique libretto by Christian Lehnert and sound effects by Francesco Antonioni this opera presents the wonderful story of Phaedra filled with drama and fantastic music. This VocalScore?presents the work in German and English language with German lyrics. Phaedra?was co-commissioned and co-produced by Staatsoper Unter den LindenBerlin Berliner Festspiele Thé tre de la Monnaie Brussels Alte Oper Frankfurt and Wiener Festwochen. Hans Werner Henze?was a hugely prolific composer who drew influences from a wide number of sources.Phaedra is regarded as among his greatest works and would certainly make for a stunning performance.

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 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

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.

Vocal Score for the Opera in Two Acts.Caritas’ is in two acts the first consisting of 12 short scenes the second being a continuous scena.The overall form of the opera retains the architecture of Wesker’s stage play butalters the proportions in order to create a musically dynamic form. While each scene of the first act is centred around a specific pitch the second act is a Passacaglia whose ‘ground’ is a Cantus Firmus each repetition ofwhich begins on a different note from those of its previous statements. These large-scale architectural features are both reflected in and derived from the musical material itself.

Opera in Two Acts-An opera in two acts based on the novel by Louisa May Alcott. Vocal score with piano reduction.

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

This opera opened April 23 1881 at the Opera Comique and ran for 578 performances at both the Opera Comique and Savoy Theatres. The county dames are in love with two poets while the poets are both in love with Patience the village milkmaid. The brigade men don't see the point to aesthetics but decide they had better give it a try to win the women's love.

A Grand Opera Buffa in Two Acts-Suggested by La Mère coupable of Pierre-Augustin Caron de Beaumarchais. Libretto by William M. Hoffman. Commissioned by the Metropolitan Opera Company for its 100th anniversary.

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

“Rodrigo” was premiered in autumn 1707 in Florence and is therefore one of Handel’s early stage works. The composer only 22 years old wrote a densely-woven musical scenario for his first opera composed in Italy. It masterfully portrays the dramatic states of mind of the protagonists surrounding the Iberian tyrant Rodrigo and the plot full of deception betrayal adultery war as well as the transformation wrought by Rodrigo’s abdication. The work was not as was long thought a commission from the Prince of Medici. Despite this “Rodrigo” seems to have been so popular thatHandel extended his stay in Italy and was able to compose several operas during the following period. In “Rodrigo” the mastery which made Handel’s succeeding opera “ Agrippina” such a success is already clearly evident. “Agrippina” consequently made Handel’s name famous throughout Europe and soon led to his first journey to London. The new vocal score is based on Volume II/2 of the “Halle Handel Edition” (BA 4083). The appendix contains the surviving variants in the versions of the first performances from Handel’s lifetime. Performance material available for hire. Based on the Urtext of the “Halle Handel Edition”. Original Italian text underlaid with German singing translation. Basso continuo and editorial additions in small print. Foreword in two languages (Ger/Eng)

Full Score. Vocal score in two volumes to the opera The Snow Queen, after the fairy tale by Hans Christian Andersen. Commissioned by The Royal Opera in Copenhagen and first performed on 13 October 2019.