Lucio Silla K. 135Dramma per musica in three actsOn 13 December 1769 Leopold Mozart and his son Wolfgang set out on their first tour of Italy. It was not until 28 March 1771 that they finally returned to Salzburg. The trip brought the young composer two commissions for opere serie. In March 1770 he was commissioned to write Mitridate K.87 (74a) for the 1770–71 Carneval season at the Regio Ducal Teatro in Milan. Mozart started work on the opera in Bologna on 29 September 1770 and the première duly took place on the Feast of St. Stephen (26 December) in 1770. The second Lucio Silla (K. 135) again commissioned for the 1771–72 Carneval season inMilan doubtless resulted from the success of Mitridate. News of the commission reached the Mozarts in March 1771 in Verona where they had stopped on their return to Salzburg. (At roughly the same time Wolfgang received an invitation from Vienna to supply a serenata teatrale for the wedding of Archduke Ferdinand the third son of Maria Theresia scheduled to take place in Milan in October 1771. This invitation ultimately resulted in Ascanio in Alba K. 111.)- Urtext of the New Mozart Edition- Full score (BA4590-01) and vocal score (BA4590-90) available for sale- Performance material (BA4590-72) available for hire

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.

A3 Size Score of the Opera in 3 Acts with libretto by the composer based on the 13th Century Chinese drama The Chao Family Orphan.

Edition no.: BVK 2270 ISBN: 9783761822708 Volume / Series: Documenta musicologica II/45 / Bärenreiter Facsimile Editor: Konrad, Ulrich Language(s) of work: English, German Product format: Facsimile Binding: Half-leather binding Pages / Format: 405 S. - 41,7 x 30,0 cm “This Tristan will be something formidable! This last act!” “I fear the opera will be banned – if the whole work is not parodied through bad performance: only mediocre performances can save me! Thoroughly good ones will surely drive people crazy.” Richard Wagner While working on the score to “Tristan und Isolde”, Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the “dawn” of the modern era and to this day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even handwriting. He constantly strove to produce manuscripts of a high calligraphic standard. The Tristan manuscript is also clearly written. More so than in his other scores however, traces of his working process are evident. It is precisely this aspect of the autograph that makes it fascinating. Reading it, one is witness to Wagner’s highlyconcentrated, powerful and relentless writing. This manuscript is in every possible way unparalleled reflecting individuality and uniqueness. In time for the 200th anniversary of Wagner’s birth in 2013, this great work will be published as a BÄRENREITER FACSIMILE in cooperation with the National Archive of the Richard-Wagner-Stiftung Bayreuth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composing and later used for sketches. Ulrich Konrad, the renowned musicologist describes the genesis and performance history of the work in his comprehensive commentary. He also details the physical appearance and condition of the autograph as well as giving an insight into the musical language of Wagner.

Facsimile of the autograph score from the National Archive of the Richard Wagner Foundation Bayreuth. Par WAGNER RICHARD. Knowledge, pity, redemption: Richard Wagner took up these major themes in “Parsifal”, the music drama that he completed 13 months before his death and referred to as his “most conciliatory work”. Already celebrated for its compositional technique and mystical sonorities at the premiere, its world of ideas has stimulated new debates and interpretations over and over again to the present day. Wagner wrote the autograph score almost entirely in violet ink, a colour he preferred to use in the final years of his life. He meticulously planned the layout of the pages and finally gave the autograph to his wife Cosima - it always remained in the family's possession as a guarded treasure. The facsimile edition in high-quality four-colour printing reproduces the extensive score in its original size. Act and bar numbers on every page facilitate its use without diminishing the overall bibliophile appearance. In an accompanying essay (Ger/Eng), Ulrich Konrad elucidates the special features of the work and the manuscript./ Répertoire / Opéra

Par NONO LUIGI. Italian / Musique contemporaine / Date parution : 1905-05-13/ Répertoire / Opéra

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

Par GARCIA-SIPIDO / LAGO. Manual del Profesor: Fundamentos y Actividades La expresión plástica y musical tiene unos fundamentos teóricos que el profesor debe conocer, para así informar a los niños y posibilitarlos para afrontar la actividad musical con seguridad./ Méthode / Opéra Théorique ou Didactique

La référence NR13491301 de l'éditeur Ricordi dont l'auteur célèbre est Donizetti Gaetano, qui a pour titre MARIA STUARDA , a été écrite et composée pour Chant/Vocal/Choeur et plus particulièrement pour Oeuvres Théâtrales/Oratorios Et Ballets. Cette partition musicale appartient à la catégorie Classique. / Oeuvres Théâtrales/Oratorios Et Ballets / Partition

Opera in three acts-Lotario HWV 26Opera in three actsHandel???s opera Lotario was first heard at the King???s Theater in the Haymarket on 2 December 1729 and had a run of nine performances. Though never revived in the composer???s lifetime Handel reused many of its arias in his later operas sometimes altering the words.The historical background of the plot is the conflict between Otto I (912 973) and Berengar of Ivrea for the Italian crown and Otto???s marriage to the Italian queen Adelaide in 951. In the course of composition the name of the hero (???Ottone??? in Salvi???s libretto) was altered to ???Lotario??? since Handel had already written an opera entitled Ottone on thelife of Otto II (955 983) in 1722.The vocal score contains the version composed for the performances of December 1729 and January 1730. It is based on the Urtext of the Halle Handel Edition.- Urtext of the Halle Handel Edition.- Full score (BA4074) and vocal score (BA4074-90) available for sale.- Performance material (BA4074-72) available for hire

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.