Ed. critica di Paolo Fabbri - Riduzione per canto e pianoforte-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 inserious 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 tothose 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. Thepresent 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 vocalscores 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 byDonizetti 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 theCritical Notes from the full score edition.

16 Vocalizzi Per Voce Acuta-Gathered in a unique volume all the vocalises previously published in two anthologies by Ricordi in the Thirties. - All the 16 vocalises of each volume (low voice medium voice high voice) have been composed by very important composers of theNineteenth century like Alfano Malipiero Respighi Casella Pizzetti. - With piano accompaniment for each vocalise.

Ed. E. Morelli - Per Voce E Pianoforte - For Voice And Piano-Giovanni Sgambati (1841-1914) pianist and composer who studied under Franz Liszt is one of the best representatives of Italian instrumental music from the late 1800s / early 1900s.On the occasion of the centenary of his death Ricordi pays homage to Sgambati with the publication of twelve carefully selected pieces illustrating the finest aspects of his works for voice.This edition includes an introduction providing historical and biographical details plus the original lyrics and the corresponding translations into Italian and English.

All the chamber pieces for voice by Ottorino Respighi published by Casa Ricordi with a preface by Alberto Cantù and the lyrics in the original language plus the English translation. Cinque Liriche P. 108 Deita silvane E se un giorno tornasse P. 96 Il tramonto La donna del sarcofago (1919) La statua (1919) Quattro Liriche su parole di poeti armeni P. 132

Ed. critica di Martin Deasy - Riduzione per canto e pianoforte. Par PUCCINI GIACOMO. Here, appearing for the first time, is the piano vocal score of Le Willis, Giacomo Puccini’s first stage work, whose full score remained unpublished until 2020, when it was issued by Casa Ricordi (NR 139546).The critical edition by Martin Deasy is based, as far as the first six Numbers are concerned, on the autograph score that Puccini reutilized for composing Le Villi. The autograph pages incorporating the final Number – pages that were later removed, in order to make space for the new material produced for Le Villi– are also proposed as the principal text.Pursuing an innovative philological approach, the editor has, furthermore, taken into due consideration the contemporaneous printed editions of the piano vocal score, on the assumption that they constitute the principal collateral sources, if one considers the particular genesis of this work. For it is certain that Puccini, upon entering the Sonzogno competition, submitted a score of Willis that lacked proper orchestration in a few pages and displayed, above all, incomplete vocal lines. However, he also provided a manuscript reduction for piano and vocal score (now lost, except for the final Number of Willis) that was undoubtedly more detailed, as far as the vocal lines were concerned. The editor proves that the vocal material produced for the first performance of Willis was not copied from the autograph score, but from the lost score reduction. The latter also served as the basis for the preparation of Ricordi’s printed edition of the piano vocal score./ Répertoire / Chant et Piano

A cura di Chiarastella Onorati. This volume brings together all of Giuseppe Martucci?s (1856-1909) works for vocal ensemble: from the Romanza he composed as a young man in 1872 (dedicated to the tenor Gaetano Fraschini), to his Canzone dei ricordi from 1887 (dedicated to the mezzo-soprano Alice Barbi); from the Sogno d?amore, Sogno di morte and Pagine sparse written in 1888 to his Tre pezzi op. 84 of 1906 by way of the 1889 Ballando! These pieces are marked by a constant search for new musical solutions, from both a harmonic and formalistic point of view, drawing some inspiration from the Lieder repertoire north of the Alps while still maintaining a natural, completely Italian, lyricism that manages to generate intense emotions without giving in to decadent excesses.

Ed. Critica F. Della Seta - Riduzione per canto e pianoforte ? softcover 2 volumi-I Puritani is the last work of Vincenzo Bellini: composed in nine months from April 1834 to January 1835 (a gestation unusually long for that time) was performed for the first time in Paris Théâtre Italien 24 January 1835. During this period the dramatic structure suffered radical transformations: initially structured in two acts the work was divided into three acts just before the premiere but on the eve of the first performance and immediately after that theexcessive length of the title imposed the cut of three pieces and other minor sections. Simultaneously with the release for Paris Bellini prepared a version designed for a planned exhibition for Naples at Teatro S. Carlo whose protagonist had to beMaria Malibran and in which the part of Riccardo had to be supported by a tenor. The exhibition did not take place as the score came late in Naples: the Neapolitan version was rediscovered and performed only in the eighties of the twentieth century.The new Critical Edition is based on the autograph on the libretto of the first performance and on four manuscript copies produced in the context of the Théâtre Italien in the first months of life of the work three of which contain autographinterventions (these sources are now kept at the Biblioteca Comunale in Palermo at the Museo Civico Belliniano in Catania at the Archivio Storico Ricordi in Milano and at the Staatsbibliothek zur Preussischer Kulturbesitz in Berlin). This Edition presents for the first time all the music composed by Bellini it restores the sections deleted before or after the first performance in Paris and returns the modified sections of the Naples version; it consists of three-score volumes- introduced by a detailed reconstruction of the historical context - and of a ?Apparati? volume with a description of the Sources and the Critical Commentary to the musical text.

A cura di David Rosen - Riduzione per canto e pianoforte-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 theoriginal 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.

A cura di D. Lawton - Riduzione per canto e pianoforte-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.