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.

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

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

This short opera (duration of 50 minutes) aptly designed for children to perform with modest resources is a version of the familiar tale though with certain adaptations. Cinderella is an au pair girl who arrives on the scene bytrain and there are three ugly sisters who get their just deserts in marriage to the appalling leaders of the armed forces. Writing for children in the Orkney Islands Davies has also included some local references: these can bechanged to suit other times and places. Musically the piece is a bright sequence of little songs choruses dialogue scenes and dances probably best suited to children between the ages of eight and twelve though the parts of theugly sisters can usefully be taken by boys with broken voices.Text only.Duration c. 50mins.

Ed. critica delle opere di A. Vivaldi - Riduzione per canto e pianoforte di A. Frigé-The present reduction derives from the critical edition of the score just published in this catalog. La Griselda was composed and performed in Venice in the spring of 1735 for the occasion of the Ascensiontide fair (Sensa). The taskof adapting the libretto by Apostolo Zeno to the particular exigencies of the production was assigned to a young writer of comedies attached to the company led by Giuseppe Imer: Carlo Goldoni. The latter immortalized in his Mémoires hismeeting with Vivaldi and the composer?s inseparable prima donna the contralto Anna Giraud confessing to having been forced against his will to ?assassinate? Zeno?s drama at the composer?s whim. La Griselda was favourably received bythe audience at the San Samuele theatre remained the sole opera by Vivaldi to be staged at a theatre owned by the powerful Grimani family. The present edition includes a synthetic introduction of the historical context the description of the mainsource employed and a choice of the critical Notes to the musical text.

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.

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.