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Antonio Salieri: Prima la musica e poi le parole: Voice: Score
Opera
Barenreiter
Divertimento teatrale in one act-Hardback edition of the full score for Antonio ...
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Divertimento teatrale in one act-Hardback edition of the full score for Antonio Salieri's Prima La Musica E Poi Le Parole.A memorable musical competition commissioned by the Emperor Joseph II took place on 7 February 1786 as part of a festival in the orangery of the Schönbrunn palace. A German Singspiel ensemble performed Mozart?s Schauspieldirektor whilst Antonio Salieri?s Prima La Musica E Poi Le Parole was performed by the Italian court singers and musicians.This charming opera satire belongs to the genre of 'metamelodramma' in which the opera itself becomes the subject of the action. The people who are part of an opera production forexample the librettist composer and prima donna appear as characters on the stage and are presented in a humorous self-reflection. In this ?theatre about theatre? Salieri parodies the music from Giuseppe Sarti?s Giulio Sabino in his insert arias thus playing on the music which was totally familiar with the audience of the time. By reflecting on the musical-dramatic style of that period and discussing whether the word or the music should take priority this masterpiece is considered to be an early forerunner to Richard Strauss' Capriccio.
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Le Comte Ory -Opera In Two Acts-
Opera
Barenreiter
Mit ?Le comte Ory' erscheint der fünfte Band aus der vielbeachteten Reihe ?Work...
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Mit ?Le comte Ory' erscheint der fünfte Band aus der vielbeachteten Reihe ?Works of Gioachino Rossini'. Nach seiner Uraufführung in Paris feierte das Werk große Erfolge an den europäischen Bühnen des 19. Jahrhunderts. Die turbulente Komödie um den Grafen Ory, der sich mit seinen wüsten Kumpanen Zutritt zu einem Nonnenkloster verschafft, ist eines von Rossinis effektvollsten Meisterwerken.Der Herausgeber Damien Colas legt in Zusammenarbeit mit dem ?Center for Italian Opera Studies Chicago' eine kritische Neuausgabe vor, die unter Heranziehung einer Vielzahl von Quellen einen originalen Text des Werkes präsentiert, der in vielen Fällen von der bislang erklungenen Überlieferung abweicht. So konnten originale Besetzungen, formale Verläufe und zahlreiche fragliche Lesarten wieder hergestellt bzw. korrigiert werden. / Opéra
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Fuga, Tecnica E Historia (SOLER)
Opera
[Sheet music]
Bosch Editor
Par SOLER. À palindrome musical est une pièce qui sonne le même lorsqu'elle a...
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Par SOLER. À palindrome musical est une pièce qui sonne le même lorsqu'elle a joué de la même façon que les mots ' maman ' et le ' papa ' lire la même vers l'avant et en arrière vers l'avant et vers l'arrière. Le cerveau et les doigts sont tous deux exercés lorsque jouer un morceau en arrière sur le piano. Les notes de lecture en arrière vous oblige à penser différemment et porter plus d'attention. Les palindromes dans cette plage de livre de très facile à difficile. Un exercice spécial utilise 120 façons d'organiser que les cinq notes c-E-F-G-D (c-D-E-F-G, FG - E-M-C, D-C-E-F-G, etc..). Pratiquant régulièrement de ces pièces peut vous rendre un meilleur lecteur de vue tout en augmentant votre dextérité./ Etude / Opéra Théorique ou Didactique
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La Bellezza ravveduta nel trionfo del Tempo e del Disinganno HWV 46a (HAENDEL GEORG FRIEDRICH)
Opera
[Sheet music]
Barenreiter
Oratorio in two parts Rome 1707. Par HAENDEL GEORG FRIEDRICH. With his “La Bel...
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Oratorio in two parts Rome 1707. Par HAENDEL GEORG FRIEDRICH. With his “La Bellezza ravveduta nel trionfo del Tempo e del Disinganno” (“Beauty Reformed in the Triumph of Time and Enlightenment”), HWV 46a, the 22-year-old Handel notched up one of his greatest successes in this genre right at the very beginning of his oratorio oeuvre. Composed in Rome in 1707, the work was for a long time known as “Il trionfo del Tempo e del Disinganno” (“The Triumph of Time and Enlightenment”). In keeping with the Halle Handel Edition, however, the title is that of the name given in the primary source. In many cases inspired by the melodically rich ideas of Reinhard Keiser (1674–1739), the work is unsurpassed by any other oratorio by Handel. At the end of an impressive sequence of truly captivating arias, duets and quartets, Bellezza’s reformation in favour of living a life pleasing to God is accompanied in incisive E major by her overwhelmingly beautiful, impossibly sad closing aria “Tu del ciel ministro eletto”, the consummate pinnacle of dramatic irony in Handel’s output. By virtue of its flawless dramatic structure as well – unlike many other oratorios and all operas of the Baroque period, the story never goes off at a tangent and all arias revolve around the dispute of the four dramatic personae – the oratorio has enjoyed long runs of widely acclaimed, mostly staged performances in the last few years./ Répertoire / Opéra
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Le Tour D'Ecrou + Owen Wingrave
Opera
Avant Scène Opéra
/ Opéra / Chanson En Séparée
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Médée
Opera
Simrock
Cette nouvelle édition de Cherubini 'Médée' a été récompensé par le Deuts...
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Cette nouvelle édition de Cherubini 'Médée' a été récompensé par le Deutscher Musikeditionspreis en 2008 et réalisé avec succès à Vienne (2008), Bruxelles (2008/2011), Lisbonne (2009), Londres (2010) et Paris (2012). Il découvre la forme originale, voulu par le compositeur, d'un centre de musique dramatique oeuvre du répertoire et, pour la première fois, facilite son interprétation selon les normes de la pratique d'exécution historique.Cherubini 'Médée' est l'oeuvre d'un cosmopolite brillant dans lequel les influences de la tradition italienne, allemande et française de la fin du 18e siècle sont combinés. Mais dans ce travail, on peut également constater un potentiel qui va se développer à la fois dans les oeuvres de Beethoven et les oeuvres des compositeurs romantiques. / Opéra
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Traviata Partitura Edizione Critica (VERDI GIUSEPPE)
Opera
[Sheet music]
Ricordi
Ed. Critica F. Della Seta - Partitura e Commento Critico Inglese. Par VERDI GIUS...
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Ed. Critica F. Della Seta - Partitura e Commento Critico Inglese. Par VERDI GIUSEPPE. A Cura Di Fabrizio Della Seta/ Répertoire / Oeuvres Théâtrales/Oratorios et Ballets
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Ritmo Y Lectura Minus One+Cd (LOPEZ DE ARENOSA E)
Español
Opera
[Sheet music + CD]
Real Musical
Par LOPEZ DE ARENOSA E.. Los nuevos medios tecnológicos nos ofrecen una posibil...
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Par LOPEZ DE ARENOSA E.. Los nuevos medios tecnológicos nos ofrecen una posibilidad apasionante de hacer práctica y fácil la realización activa de los ejercicios musicales dándoles su auténtico sentido y función. Hacer música desde un principio sin que ello suponga dificulta atractivo, es la búsqueda que todos los maestros hacemos cada día. ¡¡Diviértete, cantando y percutiendo!! Este libro acompaña y completa a Ritmo y Lectura 1 (MK16217), referente en la enseñanza del Lenguaje Musical en nuestro país./ Solfège/Formation Musicale / Opéra Théorique ou Didactique
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Solfeo En Canciones (LOPEZ DE ARENOSA E)
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Opera
[Sheet music]
Real Musical
Par LOPEZ DE ARENOSA E.. El Solfeo en Canciones ha nacido de una manera natural ...
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Par LOPEZ DE ARENOSA E.. El Solfeo en Canciones ha nacido de una manera natural y poco a poco, fruto del trabajo diario de las propias clases de la autora. Esta obra quiere ser, dentro de su sencillez, una forma natural de hacer música desde el primer día de una clase de Solo es un método sino un material complementario que prepara, archiva y resume los conocimientos solfísticos./ Recueil / Opéra Théorique ou Didactique
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Primi Solfeggi (SPANTACONI E)
Opera
[Sheet music]
Berben Edizioni Musicali
Par SPANTACONI E.. / Solfège/Formation Musicale / Opéra Théorique ou Didactiq...
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Par SPANTACONI E.. / Solfège/Formation Musicale / Opéra Théorique ou Didactique
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Dictado Musical Melodico V.2 (LOPEZ DE ARENOSA E)
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Opera
[Sheet music]
Real Musical
Par LOPEZ DE ARENOSA E.. RM181016/ Solfège/Formation Musicale / Opéra Théoriq...
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Par LOPEZ DE ARENOSA E.. RM181016/ Solfège/Formation Musicale / Opéra Théorique ou Didactique
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Corso Graduale E Metodico (BERALDI MARINO)
Opera
[Sheet music]
Curci
Per Lo Studio Del Dettato Ritmico E Melodico. Par BERALDI MARINO. / Méthode /...
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Per Lo Studio Del Dettato Ritmico E Melodico. Par BERALDI MARINO. / Méthode / Méthode / Opéra Théorique ou Didactique
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Dictado Musical Melodico V.1 (LOPEZ DE ARENOSA E)
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Opera
[Sheet music]
Real Musical
Par LOPEZ DE ARENOSA E.. RM181014/ Solfège/Formation Musicale / Opéra Théoriq...
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Par LOPEZ DE ARENOSA E.. RM181014/ Solfège/Formation Musicale / Opéra Théorique ou Didactique
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Giacomo Carissimi: Jephte. Oratorio A 6 Voci E B.C.: Mixed Choir
Opera
[Sheet music]
Ricordi
Jephte. Oratorio A 6 Voci E B.C.
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Dictado Musical Ritmico V.2 (LOPEZ DE ARENOSA E)
Español
Opera
[Sheet music]
Real Musical
Par LOPEZ DE ARENOSA E.. RM181017/ Recueil / Opéra Théorique ou Didactique
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Dictado Musical Ritmico V.1 (LOPEZ DE ARENOSA E)
Español
Opera
[Sheet music]
Real Musical
Par LOPEZ DE ARENOSA E.. RM181015/ Solfège/Formation Musicale / Opéra Théoriq...
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Par LOPEZ DE ARENOSA E.. RM181015/ Solfège/Formation Musicale / Opéra Théorique ou Didactique
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Educacion Audioperceptiva 1 (GARMENDIA E)
Opera
[Sheet music]
Melos Ediciones Musicales
Par GARMENDIA E. / VARELA M.. MLOBA13276/ Méthode / Opéra Théorique ou Didact...
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Par GARMENDIA E. / VARELA M.. MLOBA13276/ Méthode / Opéra Théorique ou Didactique
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Dictado A Dos Voces Nivel 1 (LOPEZ DE ARENOSA E)
Español
Opera
[Sheet music]
Real Musical
Par LOPEZ DE ARENOSA E.. RM181036/ Méthode / Opéra Théorique ou Didactique
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Franco Benzi: Teoria E Solfeggio Facili Letture Per Il I Corso: Solfege: Theory
Italiano
Opera
Carisch
Teoria E Solfeggio Facili Letture Per Il I Corso
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Carlos Camacho: Armonía e Instrumentación: Theory
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Opera
Real Musical
ArmonÃa e Instrumentación
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Dictado Musical Profesor (LOPEZ DE ARENOSA E)
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Opera
[Sheet music]
Real Musical
Par LOPEZ DE ARENOSA E.. RM181013/ Méthode / Opéra Théorique ou Didactique
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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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Gioachino Rossini: Mosè In Egitto (Volume 1 + 2): Voice: Vocal Score
Opera
[Sheet music]
Ricordi
Ed. critica di Charles S. Brauner - Riduzione per canto e pianoforte-Mosè in Eg...
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Ed. critica di Charles S. Brauner - Riduzione per canto e pianoforte-Mosè in Egitto (1818) is the fourth of the nine opere serie that Rossini composed for Naples between 1815 and 1822. As his letters to his mother show Rossini was very proud of this opera considering it an especially fine achievement that might appeal more to posterity than to the audiences of his day. In fact it proved to be one of his most frequently performed opere serie. The present reduction for voice and piano in two volumes derives from the critical edition of the score published by Fondazione Rossini Pesaro in collaboration with Casa Ricordi by Charles S. Brauner: the edition is based mainly on the autograph score now housed in theBibliothèque nationale de France in Paris. This autograph score is complete but it is not completely autograph and many sections have offered some problems for the reconstruction of the text: the recitative in Act I and the Aria Mosè in Act II are not by Rossini the first five recitatives in Act II are not in Rossini’s hand and may or may not be by Rossini also not in Rossini’s hand is the Aria Amaltea although undoubtedly by Rossini because borrowed from his earlier opera Ciro in Babilonia. The Preface and the Critical Commentary offer for the first time some valid tools to reconstruct the entire history of the opera since the first performance in Naples (1818 1819) to the Parisian ones (1822 – 1840). In particular in the appendices are included the original Aria Faraone which composed by Michele Carafa for the first two productions of the opera in Naples in 1818 and 1819 was later replaced by the Aria Faraone Rossini himself composed in 1820 and in Appendix II the new ending of the recitative following Duetto N. 3 which Rossini composed for one of the Parisian performances after 1822.
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Lupus In Fabula (SARGENTI R)
Opera
[Score]
Ricordi
Opera Musicale In Un Atto Per Soli, Piccola Orchestra E Coro Di Bambini/Ragazzi....
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Opera Musicale In Un Atto Per Soli, Piccola Orchestra E Coro Di Bambini/Ragazzi.. Par SARGENTI R.. Opera Musicale In Un Atto Per Soli, Piccola Orchestra E Coro Di Bambini/Ragazzi. / Musique contemporaine / Date parution : 1905-07-02/ Répertoire / Opéra
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7 Storie Per Lasciare Il Mondo (BETTA MARCO)
Opera
[Score]
Ricordi
Opera Per Musica E Film. Par BETTA MARCO. Opera Per Musica E Film / Musique cont...
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Opera Per Musica E Film. Par BETTA MARCO. Opera Per Musica E Film / Musique contemporaine / Date parution : 1905-06-30/ Répertoire / Opéra
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Reigen (BOESMANS / CASSOL)
Opera
[Score]
Ricordi
Opera In Un Preludio E 10 Scene. Par BOESMANS / CASSOL. Opera In Un Preludio E 1...
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Opera In Un Preludio E 10 Scene. Par BOESMANS / CASSOL. Opera In Un Preludio E 10 Scene / Musique contemporaine / Date parution : 1905-06-28/ 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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Gaetano Donizetti: Maria Stuarda: Opera: Vocal Score
Opera
[Sheet music]
Ricordi
Riduzione per Canto e Pianoforte-Opera Completa Per Canto E Pianoforte Edizione ...
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Riduzione per Canto e Pianoforte-Opera Completa Per Canto E Pianoforte Edizione Critica A Cura Di Anders Wiklund.
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Peter Maxwell Davies: Kommilitonen! (Young Blood!) - Full Score: Opera: Score
Opera
[Sheet music]
Chester
Lyric opera in two acts. Libretto by David Pountney.Commissioned?jointly by the ...
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Lyric opera in two acts. Libretto by David Pountney.Commissioned?jointly by the Royal Academy of Music London UK and The Juilliard School New York USA.UK premiere: 18th March 2011 - Royal Academy of MusicOpera and Sinfonia at the Royal Academy of Music London conducted by Jane Glover.US premiere: 16th November 2011 - Students of The Julliard School at Peter Jay Sharp Theatre New York conducted by AnneManson.Overview.The piece consists of three interlocking stories of students involved in political action in three different situations.?Die Weiße Rose? was the name taken by a group of students atthe University of Munich led by Sophie and Hans Scholl. They produced leaflets protesting against the National Socialist government of Germany in 1942-3 until they were arrested and guillotined.?Soar to Heaven? follows twocharacters Wu and Zhou involved on opposite sides of the Cultural Revolution in China.?The Oxford Revolution? tells the story of James Meredith who fought a lonely battle against segregation and racial prejudice to becomethe first black student to enrol at ?Ole Miss? the University of Mississippi in the USA.Librettist's Note.There are inevitably and properly some differences between the original libretto and whatMax ultimately set to music. Most of these are insignificant but all the Latin texts in the opera were added by Max and texts for the alternating black / white choruses (Scene 19) and final chorus (Scene 28) were written by him.
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