Par VIVALDI ANTONIO. C'est seulement en 1713 que Vivaldi aborde l'opéra ; certaines sources parlent de 94 productions, mais seules 50 ont été identifiées. La musique de ces opéras n'ayant pas été imprimée, contrairement aux livrets, il ne reste trace (complète ou partielle) que d'une vingtaine d'opéras. Impresario du Teatro San Angelo de Venise, Vivaldi écrira la majorité de ces opéras pour ce théâtre. / Date parution : 2021-11-15/ Recueil / Basse

Attila, Verdi's ninth opera and the second of five that he composed for Venice's Teatro La Fenice, had its premiere on 17 March 1846. Verdi was inspired to compose an opera on the subject of Attila by two rather unusual sources, Attila, König der Hunnen, a curious play by a now-forgotten German playwright, Friedrich Ludwig Zacharias Werner, and Madame de Staël's discussion of it in her magisterial work on Germany, De l'Allemagne. This present reduction is based on the critical edition of the full score that - published in 2012 - is the first complete published version of the full orchestral score and the product of the study of numerous manuscript sources: the autograph sources (now kept at the British Library in London, at the Library of Congress in Washington D.C. and at the 'Museo del Teatro alla Scala? in Milan), manuscript sources (those kept at Teatro La Fenice in Venice and at Teatro San Carlo in Naple) and the first piano vocal scores. / Voix Et Piano

Opéra seria en trois actes, sur un livret attribué à Gennaro Antonio Federico, inspiré d'un livret de Francesco Silvani, La fede tradita e vendicata, mis en musique par Francesco Gasparini et représenté à Venise en 1704. Il fut créé le 5 septembre 1733, au Teatro di San Bartolomeo de Naples, avec une distribution réunissant : Lucia Grimani, contralto vénitienne (Metalce), Giovanni Battista Pinacci, bariténor (Sostrate), Anna Bagnolesi, contralto (Rosmene), Antonio Castoro, castrat soprano (Viridate), Rosa Mancini, soprano (Ericlea), Anna Maria Mazzoni, soprano (Micisda). Il comportait La Serva padrona comme intermèdes. La source principale de cette édition est une copie manuscrite de la partition actuellement conservée au Conservatorio di Musica ' San Pietro a Majella ' à Naples et préparée par Giuseppe Sigismondo, qui travaillait très probablement à partir de l'autographe aujourd'hui perdu. Deux autres copies manuscrites significatives de la partition également logée à Naples ont été consultées, ainsi qu'un certain nombre de copies manuscrites d'airs individuels. / Chant Et Piano

Vocal score based on the critical edition of the orchestral score edited by Paolo Fabbri, 2 volumes. Donizetti's Anna Bolena premiered at Milano's Teatro Carcano during Carnival season 1830-31 is considered the composer's first major success in serious opera, which brought him to the attention of all Europe. In terms of production, in Italy he was an anomaly, in that he remained actively involved in the evolution of his works and the performances of them, and went on making modifications to those works. Written expressly for the interpretative and vocal talents of great singers like Giuditta Pasta and Giovan Battista Rubini, the historically-based 'lyrical tragedy? by librettist Felice Romani is a classic of Lombard Romanticism. The present reduction for voice and piano derives from the critical edition of the score, recently published in this catalog: is based on the autograph score, (housed in the Ricordi Archives in Milan), on the libretto for the premiere, on the first vocal scores printed editions (Lucca and Ricordi in Milan and Marquerie Frères in Paris) and additional manuscript scores with autograph additional notes (housed in Naples and Rome). This edition presents for the first time all the music composed by Donizetti, in particular the sections crossed out or replaced either immediately before or after the first performances. There is also a synthetic reconstruction of the birth of Anna Bolena, with a description of sources and a selection of the Critical Notes from the full score edition. / Voix Et Piano

Ricordi, the well-known printer of classical opera, presents the works of the great opera composers in its CRITICAL EDITION · PRACTICAL SERIES. These revised definitive scores are produced by using all the currently available sources ranging from the original autographs to printed editions, in line with strict philological and critical criteria. Each edition has a brief introduction providing the historical context for the opera in question. This series combines the rigour of a critical approach and a practical, easy-to-follow editorial lay-out. The hidden sadness and frustration of living as a moral outcast, the attempt to simulate innocence in frivolous living and the desperate search for relief from pain and anguish, the destruction of all hope in an unrealistic love affair... this is Violetta Valery. Verdi penetrated the tormented sensitivity of her soul as he visualized her in his music, transforming her individual fate into a universal representation of human suffering. His compassion for her, however, met with bigoted censure: the bourgeois public, scandalized by the presence of a kept woman as a character on the stage, gave the opera an icy reception at its premiere in Venice (Teatro La Fenice, 6 March 183). Certainly an inferior cast for the occasion did little to help. Only the following year, when La traviata was revived for another production in Venice (Teatro San Benedetto), did the tale of Violetta manage to overcome this prejudice and win the unconditional esteem it so deserves. / Voix Et Piano

Méditation From 'Thais' a été écrit par Jules Massenet (1842-1912) et a été arrangé par ici MP Marsick pour piano et violon (y compris retirer une partie séparée pour violon). Méditation De 'Thaïs' a été réalisée d'abord en Italie au Teatro Lirico Internazionale à Milan le 17 Octobre 1903, avec Lina Cavalieri dans le rôle-titre et Francesco Maria Bonini comme Athanaël. / Violon Et Piano