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Cosi Fan Tutte Ossia La Scuola Degli Amanti (MOZART WOLFGANG AMADEUS)
Opera
Barenreiter
Dramma giocoso in two acts. Par MOZART WOLFGANG AMADEUS. Due to numerous custome...
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Dramma giocoso in two acts. Par MOZART WOLFGANG AMADEUS. Due to numerous customer requests, Bärenreiter is successively offering vocal scores to major Mozart operas in hardback editions again. This means you now have the choice: perhaps you prefer a slightly lower-priced and lighter soft-cover edition with excellent lay-flat characteristics or you feel that sturdier hardcover editions of important repertoire works are more likely to survive the rigours of a singer's life.
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Jenufa (JANACEK LEOS)
Opera
[Score]
Universal Edition
Oper in 3 Akten aus dem mährischen Bauernleben. Par JANACEK LEOS. With his thir...
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Oper in 3 Akten aus dem mährischen Bauernleben. Par JANACEK LEOS. With his third opera Jenufa Leoš Janácek succeeded in making his breakthrough as an operatic composer. Since the premiere of this moving story about the fate of the sexton and her stepdaughter Jenufa at the Brno National Theatre in 1904, it has become one of the composer's most frequently performed works. Janácek was the first to succeed in transforming everyday speech directly into music. His method of using speech-melodic motives is clearly distinctive. It is known that the composer preserved everyday conversations in the form of little musical sketches: 'Jotting down genuine speech melody is, as it were, music's life class,' he said./ Répertoire / Opéra
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Jenufa (JANACEK LEOS)
Opera
[Study Score / Miniature]
Universal Edition
Par JANACEK LEOS. With his third opera Jenufa Leoš Janácek succeeded in making...
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Par JANACEK LEOS. With his third opera Jenufa Leoš Janácek succeeded in making his breakthrough as an operatic composer. Since the premiere of this moving story about the fate of the sexton and her stepdaughter Jenufa at the Brno National Theatre in 1904, it has become one of the composer's most frequently performed works. Janácek was the first to succeed in transforming everyday speech directly into music. His method of using speech-melodic motives is clearly distinctive. It is known that the composer preserved everyday conversations in the form of little musical sketches: 'Jotting down genuine speech melody is, as it were, music's life class,' he said/ Répertoire / Opéra
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I Puritani - Opera Seria In Tre Atti (BELLINI VINCENZO)
Opera
Ricordi
Crit. Ed. Fabrizio Della Seta. Par BELLINI VINCENZO. I PURITANI is the last work...
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Crit. Ed. Fabrizio Della Seta. Par BELLINI VINCENZO. 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. 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. / Opéra-opérette / Répertoire / Opéra
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La Bellezza ravveduta nel trionfo del Tempo e del Disinganno HWV 46a (HAENDEL GEORG FRIEDRICH)
Opera
[Sheet music]
Barenreiter
Oratorio in two parts Rome 1707. Par HAENDEL GEORG FRIEDRICH. With his “La Bel...
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Oratorio in two parts Rome 1707. Par HAENDEL GEORG FRIEDRICH. With his “La Bellezza ravveduta nel trionfo del Tempo e del Disinganno” (“Beauty Reformed in the Triumph of Time and Enlightenment”), HWV 46a, the 22-year-old Handel notched up one of his greatest successes in this genre right at the very beginning of his oratorio oeuvre. Composed in Rome in 1707, the work was for a long time known as “Il trionfo del Tempo e del Disinganno” (“The Triumph of Time and Enlightenment”). In keeping with the Halle Handel Edition, however, the title is that of the name given in the primary source. In many cases inspired by the melodically rich ideas of Reinhard Keiser (1674–1739), the work is unsurpassed by any other oratorio by Handel. At the end of an impressive sequence of truly captivating arias, duets and quartets, Bellezza’s reformation in favour of living a life pleasing to God is accompanied in incisive E major by her overwhelmingly beautiful, impossibly sad closing aria “Tu del ciel ministro eletto”, the consummate pinnacle of dramatic irony in Handel’s output. By virtue of its flawless dramatic structure as well – unlike many other oratorios and all operas of the Baroque period, the story never goes off at a tangent and all arias revolve around the dispute of the four dramatic personae – the oratorio has enjoyed long runs of widely acclaimed, mostly staged performances in the last few years./ Répertoire / Opéra
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Scipione Affricano (CAVALLI FRANCESCO)
Opera
Barenreiter
Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two do...
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Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two dozen operas he had written for Venice had helped establish Venice as the world’s first operatic superpower. “Scipione Affricano” (Venice 1664), Cavalli’s first opera after returning from France, was one of his most successful compositions. In a period that valued new works over familiar ones, “Scipione” was one of a handful of operas to live on after its premiere season: it was revived eight times and chosen to inaugurate Rome’s Teatro Tordinona in 1671. Cavalli’s librettist, Nicolò Minato, was inspired by historical accounts of the life of the Roman general Scipio, whose defeat of Carthage in 202 BCE earned him the honorary agnomen “Africanus.” In setting Minato’s libretto, Cavalli drew upon the lyrical gifts that have made operas like “La Calisto” and “Giasone” so popular today. But at the same time “Scipione Affricano” also shows the composer embracing aspects of his two years in France, and responding to musical changes that, in the 1660s, were rapidly altering the face of Italian opera: the growing dominance of arias, a clearer sense of aria organization, and increased interplay between voice and instruments. The first goal of this edition is a practical one: to develop a version of the opera suited to the needs of both professional and student performers. A second goal is to reconstruct the opera’s complete performance history. An amply documented appendix reconstructs earlier versions of 21 arias. Other appendices print the surviving additional music from revivals in Rome and Venice. The edition is framed by a substantial Introduction, covering the drama, the musical style, the composition, premiere, and revivals, and a guide for performance today, plus a detailed “decoding” of the sources. - series Francesco Cavalli – Opere / Date parution : 2022-11-08/ Répertoire / Opéra
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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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Wagner R. - Tristan Und Isolde Wwv 90 - Facsimile
Opera
Barenreiter
Edition no.: BVK 2270 ISBN: 9783761822708 Volume / Series: Documenta musicologic...
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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.
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Parsifal (WAGNER RICHARD)
Opera
Barenreiter
Facsimile of the autograph score from the National Archive of the Richard Wagner...
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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
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