Opera in 3 acts Text: Meredith Oakes after Shakespeare-The Libretto of the Opera by Thomas Ades adapted from the Shakespeare comedy by Meredith Oakes. The Opera was first performed at the Royal Opera House Covent Garden in February 2004.

The latest addition to the Novello Handel Edition. A stage work of 1745 based on John Milton's classical masque Comus created from a compilation of songs by Handel and Thomas Arne both pre-existing and original with the text adapted by John Dalton. This is the first ever complete publication of the work and is edited by Handel scholar Colin Timms. This work is for three or four Sopranos Mezzo-Soprano Tenor one or two Bass Soli and Orchestra. This edition is an 'important new contribution to scholarship with Colin Timms continuing the work of Anthony Hicks in putting together an edition of work from various sources'. There are 'somefine movements to be found by both composers not least the three airs and trio that Handel provided specially for performance in Exton Hall Rutland in 1745'. Choir & Organ  November/December 2017 'Potential performers will appreciatre the excellent editorial preface. The print of this vocal score with piano reduction though small is very clear and well laid-out and orchestral parts including a fully realised continuo part are available from Novello.' Organists’ Review December 2017

Standard Version with sung recitatives-Although almost unanimously condemned by contemporary Parisian critics for its overt sexuality and graphic final scene Carmen ultimately reached the public in a way that perhaps no other opera has. Bizet's aim (with Meilhac andHalevy who wrote the libretto) had been to transform the flaccid moralistic bourgeois genre of opéra comique into a more sophisticated type of staged work and he seems to have suceeded in Carmen. Each character has a musicalsignificance and a unique expressive idiom the ultimate example being the dangerous exotic sensual Carmen herself depicted by an exotic and sinewy chromatic motive that also implies the insurmountable power of fate. In aclassic plot device she is contrasted with the 'good girl' of the opera Micaela whose main aria is set in the ternary form of the elevated bel canto French Grand Opera aria to imply her traditionally 'ladylike' retiring nature.Don José's musical styles reflect different levels in his descent from dutiful soldier to the underworld of obsession.This is the Schirmer edition of the Libretto in the original French with an English translation by Ruthand Thomas Martin.

Italian/English-Mozart's 'The Marriage Of Figaro' was based on Beaumarchais' politically radical play - the second of the trilogy which begun with 'The Barber Of Seville' - later of course adapted into an opera by Rossini. As in 'Il Barbiere diSiviglia' 'The Marriage of Figaro' depicted the aristocracy as buffoons controlled and outwitted by their cunning servants. This time Figaro and Susanna are due to wed but must first outwit the Count who is determined toexercise a master's ancient right to deflower the bride of his servant. This is the Schirmer edition of the libretto in the original Italian with an English translation by Ruth and Thomas Martin.

Description Johann Strauss II: Die Fledermaus (Vocal Score) The Bat. English version by Ruth and Thomas Martin. Songlist Ah, My Lady Says (Strauss) Champagne's Delicious Bubbles (Strauss) Come Along To The Ball (Strauss) Drinking Song (Strauss) Ever Since I Was A Baby (Strauss) From Time To Time (Strauss) Good Sir, Are You Accusing Me (Strauss) How Engaging (Strauss) My Friends, Your Kind Attention (Strauss) No, You Set My Doubts (Strauss) Oh, Eisenstein, You Mastermind (Strauss) To Judge His Expression (Strauss) To Part Is Such Sweet Sorrow (Strauss) Turtledove Who Flew Aloft (Strauss) Voice Of My Homeland (Strauss) What A Joy To Be Here (Strauss) When These Lawyers Don't (Strauss)

The libretto for Giuseppe Verdi's 'Rigoletto' was adapted by Francesco Maria Piave from Victor Hugo's play Le roi s'amuse which was so controversial it had been banned in Paris after one performance. Le roi here isthe Duke a renowned womaniser who seduces ladies as their husbands are taunted by his hunchback jester Rigoletto. An elderly nobleman Monterone curses them both for seducing his daughter and Ceprano whose wife has been withthe Duke plots with the courtiers to punish him.Rigoletto is suspected of keeping a mistress so while Rigoletto is out the Duke slips into his house and finding Rigolettoâ??s daughter Gilda he proffers his love to herand she is smitten. After he leaves the courtiers break in and carry off Gilda to the Dukeâ??s bedchamber. Soon Rigoletto enters and realises the mistake just in time as the dishevelled Gilda runs in. As Monterone is led to thedungeon Rigoletto vows to avenge them both. Rigoletto pays the assassin Sparafucile to murder the Duke as his sister Maddalena flirts with him. However Maddalena persuades her brother to kill not the Duke but the nextvisitor to the inn instead so overhearing and resolving to sacrifice herself for the Duke Gilda enters the inn and is stabbed. Rigoletto finds Gilda dying and begging forgiveness: Monterone's curse is fulfilled.This isthe Schirmer edition of the Libretto in the original Italian with an English version by Ruth and Thomas Martin.

An Opera in Three Acts-Adès?s third opera The Exterminating Angel premiered at the Salzburg Festival in July 2016. Based on Luis Buñuel?s surrealist classic El ángel exterminador the opera sees a collection of society?s grandees inexplicably trapped in a room.The libretto adapted from the original Buñuel-Alcoriza screenplay by the composer together with the director Tom Cairns brilliantly captures their descent into anarchy. Featuring a jaw-dropping 15 principals (who remain on stage for the majority of the piece) The Exterminating Angel is a true ensemble opera and the skill with which Adès delineates the many intricacies and undercurrents present over itsdensely-packed span (just under two hours plus interval) is breathtaking. Like the shipwrecked characters of The Tempest the cast of this new opera are held in a state of entrapment and dramatic stasis. Like the glittering high-society world of Powder Her Face the dinner party guests are denizens of a nightmarish world of aristocratic pretension.