Opera Completa. Par ZAFRED MARIO. Opera Completa / Niveau : Intermédiaire / Opéra-opérette / Répertoire / Opéra

Par CASELLA ALFREDO / MORTARI. CASELLA/MORTARI TECNICA ORQUESTA CONTEMPORANEA SPAN BK/ Etude / Opéra Théorique ou Didactique

Par VINAY VITTORIO / GIUFFREDI B.. Pour les cours supplémentaires et l'harmonie principale et des cours préparatoires pour l'université à l'adresse musicologie. Modulation, désambiguïsation, la transition vs polarisation, réinterprétation enharmonique, des applications, des tests de modèles de tableaux de typologiques. Connaissant les modulations est d'être en possession d', puis savoir comment manoeuvrer, les règles par lesquelles la combinaison d'unités génératrices de cadentielle contextes tonale correcte, ce qui n'est possible que si l'étude n'est pas le résultat d'enregistrements contestiri plus ou moins empiriques, mais le résultat d'une hypothèse théorique déduite du système scalaire comme une structure capable de générer les principes de l'organisation du contexte. / Formation musicale / Recueil / Opéra Théorique ou Didactique

Par CORTOT ALFRED. SUVMU8Z04474 / Éducation musicale / Etude / Opéra Théorique ou Didactique

Vocal Score for the Opera in Two Acts.Caritas’ is in two acts the first consisting of 12 short scenes the second being a continuous scena.The overall form of the opera retains the architecture of Wesker’s stage play butalters the proportions in order to create a musically dynamic form. While each scene of the first act is centred around a specific pitch the second act is a Passacaglia whose ‘ground’ is a Cantus Firmus each repetition ofwhich begins on a different note from those of its previous statements. These large-scale architectural features are both reflected in and derived from the musical material itself.

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. 

As with many other libretti by Pietro Metastasio ?Ezio? was also set to music several times besides Handel by Nicola Porpora in 1728 and Christoph Willibald Gluck in 1750. As the historical events from late antiquity surrounding the Western Roman General Aëtius who had defeated the Huns under Attila on the Catalaunian Fields had largely fallen into oblivion by the 18th century they merely form a backdrop to the highly-dramatic ?Sex and Crime? on the operatic stage. In contrast with the original Roman story ?Ezio? remains alive at the ?happy ending? and the enthusiastic public experienced this version for the first timeon 15 January 1732 in London.However despite this the opera only received five performances during Handel?s lifetime. Handel took the overture from his incomplete opera ?Titus l?Empereur?.Performance material available for hire.Vocal score based on the Halle Handel Edition.Original Italian text with German singing translation underlaid.Figured bass realisation and editorial additions in cue-sized notes.Detailed foreword (Ger/Eng)

Tragédie-opéra in three acts. Paris Version 1776.In 1774 Gluck had committed himself to supplying six stage works to the Academie Royale de Musique in Paris. This job he fulfilled partially by reworking works which had already been premiered in Vienna.In the case of the Paris Alceste (1776) which Gluck had also originally composed for Vienna (1767) the composer created a completely new version which was to become the prototype of the so-called reform opera. The libretto was translated from the former Italian into French and was altered at the same time but also the music was fundamentally changed: Gluck newlycomposed the recitatives and rearranged enlarged or cut scenes.The initial rejection of the work by the audience caused him to further alter the third act for example by adding the character of Hercules as Alceste's saviour. In this form the opera finally became a big success.- Full score (BA2291) available for sale; performance material (BA2291-72) available for hire.

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

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.Musically the piece is a bright sequence of littlesongs choruses dialogue scenes and dances probably best suited to children between the ages of eight and twelve though the parts of the ugly sisters can usefully be taken by boys with broken voices.The music is scored foran orchestra of recorders trumpet percussion strings and keyboard and ranges through a variety of styles. The opera has eleven solo parts and a chorus who act as a train ball guests and the magic kittens. It is alsosuitable for performance by children aged eight and upwards.

'Il Ritorno D'Ulisse In Patria' (The Return Of Ulysses) was first performed in Venice in 1640. Its stature among dramatic works of the seventeenth century has grown considerably and is now one of the most frequently performed of Baroque Operas. Alan Curtis has produced the first complete performing edition to be drawn from all available sources carefully annotated throughout the figured bass completed and the newly edited libretto and argomento given in full. Along with a useful scholarly preface and numerous corrections of notes rhythms and harmonies this edition is also of particular service for its careful corrections of the faulty libretto which has until now had to servefor all modern performances. Libretto by Giacomo Badoaro. English Libretto by Anne Ridler.

Judith Weir's The Vanishing Bridegroom. Opera scored for Soprano Mezzo-Soprano Tenor and 2 Baritone Soli SSAATTBB Chorus and Orchestra. Text: from Popular Tales of the West Highlands.