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Zoroastre rct 62B (RAMEAU JEAN-PHILIPPE)
Opera
Barenreiter
Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Ra...
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Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Rameau?s ?Zoroastre? in the version of 1756. Opera in five acts. Rameau?s revised version of his opera ?Zoroastre?, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today?s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau?s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime ?Hymne à la Lumière?, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with ?Zoroastre? the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck?s opera reform by many years. - One of Rameau?s main works for the stage, now available with all its versions - With a straight-forward piano reduction in the vocal score by François Saint-Yves - Available on sale full score (B0A8867-01) and vocal score (BA08867-90) - Performance material available for hire BA08867-72 - Jean-Philippe Rameau - Opera Omnia (OOR) IV/26 / Date parution : 2022-07-30/ Répertoire / Chant et Piano
567.00 EUR - Sold by LMI-partitions
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Die Harmonie der Welt Teil C (HINDEMITH PAUL)
Opera
Schott
Par HINDEMITH PAUL. The opera is set in a variety of locations between the years...
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Par HINDEMITH PAUL. The opera is set in a variety of locations between the years 1608 and 1630 and throws a spotlight on individual scenes, sometimes presented simultaneously, from the life of the astronomer Johannes Kepler (1571-1630); the opera takes its name from Kepler’s theoretical work ‘Harmonices mundi’. Hindemith utilises substantial historical studies as the basis for his sketches of individuals within Kepler’s circle who each accompany the astronomer’s scientific endeavours with a variety of personal ambitions. The military commander Wallenstein attempts to utilise Kepler’s astrological abilities to realise his own pretensions to power while Kepler’s assistant Ulrich aspires to scientific fame and recognition. Kepler’s mother urges her son to apply his scientific abilities to the services of her black magic and the Lutheran minister Hizler forbids the astronomer to receive communion because Kepler questions the doctrine of Holy Communion in the Lutheran church and expresses sympathy for Calvinist doctrine. The few figures shed in a positive light include Kepler’s wife Susanna who supports her husband’s pursuit of truth and knowledge and the child Susanna who listens to the voices of nature and the moon in her childish naivety, thereby gaining revelatory knowledge. At the end of his life, Kepler takes stock of his situation, succumbs to a state of resignation and considers death as the greatest harmony of all. In his state of agony, music of the spheres can be heard; the constellations appear as allegorical figures in the opera and contradict Kepler’s negative concepts: lying beyond all that can be researched by mankind is a final majestic realm with the powers to ‘permit us to be amalgamated into a gigantic harmony of the spheres.’ / Date parution : 2022-07-20/ Répertoire / Opéra
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Orphee Et Euridice (GLUCK CHRISTOPH WILLIBALD)
Opera
[Score]
Barenreiter
Tragédie-opéra Drame héroïque en trois actes. Par GLUCK CHRISTOPH WILLIBALD....
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Tragédie-opéra Drame héroïque en trois actes. Par GLUCK CHRISTOPH WILLIBALD. Christoph Willibald Gluck’s most popular opera “Orphée et Euridice” was performed in 1774 in Paris to sensational success. This new adaption followed the original Viennese version with Italian text that was first performed in 1762 under the direction of the composer in the Burgtheater. For the Paris version Gluck changed the leading part Orpheus from an alto to a tenor role and composed new recitatives. Both versions of Gluck’s reform drama are based on a libretto by Ranieri de’ Calzabigi and revolutionised metastasian opera of the 18th century. Solo and choral music, instrumental music, pantomime and dance are all closely connected; the myth replaces a historical plotsurrounded by intrigue; where there would have been a da-capo aria there are now simple song forms and coloratura is largely abandoned. These meticulously revised vocal scores of both versions are also newly set. Urtext editions based on “Gluck, The Complete Works” Revised and newly set The revised editions are compatible with the old editions T48Full score (BA2282-01) and vocal score (BA2282-90) available for sale Performance material (BA2282-72) available for hire/ Répertoire / Opéra
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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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Xerxes (Serse)
Opera
Chester
Georg Frideric Händel 's Serse (Xerxes) has everything one would expect from a ...
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Georg Frideric Händel 's Serse (Xerxes) has everything one would expect from a Baroque opera - many intertwining love stories, affairs, intrigues, scheming, misunderstanding and forgiving - all presented in the great master's magnificent music. The opera is set in Persia in 480 BC and is very loosely based upon Xerxes I of Persia, though there is little in either the Baroque libretto or music that is relevant to that setting, the main focus is on the characters ( Serse , Arsamene, Amastre, Romilda, Atalanta, Ariodate and Elviro - some of which are based on real historical persons) and their plotting. The English version for the opera in three acts was made for the English National Opera's production, first performed in 1985, on the 300th anniversary of Händel 's birth. In this edition of the Vocal score with the original Italian and the later English lyrics accompaniment is provided by the instruments indicated in the orchestration (2 Recorders (or Flutes), 2 Oboes, 2 Horns in F, Trumpet in D, Strings and Continuo [Harpsichord, Cello, Double Bass, Bassoon]), but can also be played by the Piano. Serse 's part, originally sung by a castrato, can be performed by a Soprano or a Countertenor. / Chant Et Piano
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Lessons In Love And Violence (BENJAMIN GEORGE)
Opera
[Score]
Faber Music Limited
Par BENJAMIN GEORGE. Premiered in 2018, the 90-minute opera Lessons in Love and ...
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Par BENJAMIN GEORGE. Premiered in 2018, the 90-minute opera Lessons in Love and Violence delves into the dark and turbulent events of Edward II's life and death. George Benjamin and Martin Crimp's third collaboration, it unfolds as a taut slow burning arch of seven tableaux. This work boasts particularly rich string textures, and is coloured by basset horn and cimbalom together with a pair of harps, celesta, and percussion (including talking drums and tombak). Several of the opera's powerful interludes are dominated by braying, sardonic brass - with tuba substituted by the more menacing contrabass trombone. There is also much spectacular ensemble writing: in Scene Three's play within a play, several strands of independent music collide, and the result is perhaps one of the most complex musical structures Benjamin has ever tackled. The music's relationship to the drama is often unstable and seemingly very spontaneous, but beneath it all one senses a rigorous architecture, unflinchingly guiding the listener deeper and deeper into the opera's disquieting emotional world. This full score is a perfect accompaniment to the previously published vocal score and text. / Musique contemporaine / 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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The Tempest - Limited Edition (ADES THOMAS)
Opera
[Score]
Faber Music Limited
Full Score. Par ADES THOMAS. Thomas Adès' The Tempest, one of the most striking...
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Full Score. Par ADES THOMAS. Thomas Adès' The Tempest, one of the most striking and successful operas of recent years, is available for the first time as a beautifully produced, limited-edition full score. Featuring the stunning image 'Octopus' by artist Claire Burbridge, this unique cased edition includes colour plates of exclusive images from Ades' original handwritten score and sketches. Each copy is signed and numbered by the composer. Limited to 250 copies, with signed and numbered limitation page. Cased, square back and sewn. Endpapers feature original artwork 'The Firmament' by Claire Burbridge. Case features original artwork 'Octopus' by Claire Burbridge, printed in neon Pantone 809, with scratch-proof matt lamination and high gloss uv. Black book-block edges, ribbon and head and tail bands. From the turbulent orchestral prelude with which it begins to Ariel's stratospheric yet ethereal 'Five fathoms deep' and the radiant quintet of reconciliation in its final act, Thomas Adès conjures up a wholly compelling musical world in The Tempest. Responding to librettist Meredith Oakes' clear, unfussy refashioning of Shakespeare into formalised rhyme schemes, Adès has created a new kind of tonal language that is both direct and communicative but also indelibly contemporary. / Opéra-opérette / Répertoire / Opéra
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The Tempest (ADES THOMAS)
Opera
[Sheet music]
Faber Music Limited
Full Score. Par ADES THOMAS. With The Tempest, Thomas Adès composed one of the ...
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Full Score. Par ADES THOMAS. With The Tempest, Thomas Adès composed one of the most striking and successful operas of recent years. From the turbulent orchestral prelude with which it begins to Ariel's stratospheric yet ethereal 'Five fathoms deep' and the radiant quintet of reconciliation in its final act, its composer conjures up a wholly compelling musical world. Responding to librettist Meredith Oakes' clear, unfussy refashioning of Shakespeare into formalised rhyme schemes, Adès has created a new kind of tonal language that is both direct and communicative but also indelibly contemporary./ Répertoire / Opéra
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Utopia Limited (GILBERT WILLIAM SCHWENCK / SULLIVAN ARTHUR)
Opera
[Sheet music]
Faber Music Limited
Par GILBERT WILLIAM SCHWENCK / SULLIVAN ARTHUR. Having a rather idealistic view ...
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Par GILBERT WILLIAM SCHWENCK / SULLIVAN ARTHUR. Having a rather idealistic view of England and the English people, King Paramount of the south sea island of Utopia decides that his people should adopt all English customs and fashions, and that the kingdom should become a company limited . Utopia Limited , or The Flowers Of Progress , is a Savoy Opera, with music by Arthur Sullivan and Libretto by W.S. Gilbert. It was the second-to-last of Gilbert and Sullivan's fourteen collaborations, premiering on October 7, 1893 for a run of 245 performances. Available here is the vocal score of the Opera. / Niveau : Elémentaire / TV, Film, Comédie musicale / Recueil / Chant et Piano
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