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.

Opera buffa in vier Akten - ??bersetzung von Brieger/Layer-Premi?red at the Vienna Hoftheater on 1 May 1786 Wolfang Amadeus Mozart???s and Lorenzo Da Ponte???s Le nozze di Figaro may be safely regarded as one of the greatest operatic successes of all times. Yet its success was not entirely due to Mozart???s music: on the contrary because of the extraordinary demands it placed on the orchestra (especially the woodwinds) the music even posed an obstacle to the work???s spread outside the German-speaking countries. At least equally responsible for the opera???s success was the librettist Lorenzo Da Ponte who managed to transform a topical and socio-critical stage play into an opera libretto as effective as it isamusing.Many of the sources for Mozart???s first opera from the Lorenzo Da Ponte trilogy only became available to scholars again after the ???New Mozart Edition??? volume was published. These include the autograph scores of acts 3 and 4 now held at the Biblioteka Jagiello ka in Krak?w significant portions of the original sets of parts and acts 2 to 4 of the conductor???s copy from the first performance of 1786.These original sources now available again offer compelling solutions to several previously unresolved questions.Edition based on the Urtext of the ???New Mozart Edition??? reflecting the latest musicological researchWith findings from original sources now available againDetailed foreword (Ger/Eng)Full score (BA4565-01) Vocal score (BA4565-92) study score format 22.5 x 16.5cm and Facsimile (BVK1882) available for saleV43 Performance material (BA4565-72) available to hire

Phaedra by German composer Hans Werner Henze is a 'concert opera' in two acts whose first performance was given at the Berlin State Opera in 2007. Phaedra was Henze's penultimateopera and this item presents the vocal score with the entire work lasting around 75 minutes.?The parts are for Mezzo-Soprano Soprano Tenor Countertenor Bass Baritone as well as a mime. Featuring aunique libretto by Christian Lehnert and sound effects by Francesco Antonioni this opera presents the wonderful story of Phaedra filled with drama and fantastic music. This VocalScore?presents the work in German and English language with German lyrics. Phaedra?was co-commissioned and co-produced by Staatsoper Unter den LindenBerlin Berliner Festspiele Thé tre de la Monnaie Brussels Alte Oper Frankfurt and Wiener Festwochen. Hans Werner Henze?was a hugely prolific composer who drew influences from a wide number of sources.Phaedra is regarded as among his greatest works and would certainly make for a stunning performance.

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

German vocal score Frøken Julie / Fräulein Julie by Antonio Bibalo (1975) - Chamber version. An opera in 3 acts and a prologue from August Strindberg’s drama Miss Julie. Commissioned by Den Jyske Opera. Parts are available on hire: hire@ewh.dk Full orch. version: WH31328

Klaverpartitur til Niels Marthinsens helaftensopera Skriftestolen (The Confessional). Uropført af den Jyske Opera i 2006. Libretto af Kerstin Klein-Perski frit efter Christian Winthers novelle. Parts are available on hire: hire@ewh.dk

Numerous revisions and adaptations are entangled in the complex history of the work 'Tannhäuser'. After the world premiere in Dresden in 1845 had failed to be well received by the audience Wagner revised large parts of the opera several times in the following decades. The most comprehensive changes were made for the Paris performance in March 1861 but even after that he made further revisions which superseded some of the previous changes and were performed in Vienna in 1875 among others.The study score is based on the version of 1875 which has misleadingly been published as the 'Paris version' until today and has actually to be referred to as 'Viennese version'. Themusical text is identical to that of the critical edition within the Wagner Complete Edition with the errata discovered since then having been corrected.

Pastorale Héroïque In One Act-The heroic pastoral Daphnis et Eglé was performed only once on 29 October 1753 for the entertainment of King Louis XV at Fontainebleau and remained unpublished until today.This edition is based on Rameau's autograph manuscript a copy of the separate parts and the libretto published by Ballard in 1753. A comparison of the sources reveals two versions of the work: the original version and the one revised for Fontainebleau whereby the differences lie mainly in the final divertissement. This edition recommends the Fontainebleau version?which is actually more complete in its musical form in particular with its overture and two ariettas?but also reconstructs theoriginal state of the final divertissement (presented in the appendix) before it was revised.Urtext edition from the Rameau edition 'Opera omnia'.Full score (BA8862) and vocal score (BA8862-90) available for sale.Performance material (BA8862-72) available for hire.

Edited by David Lawton-The Works of Giuseppe Verdi is the first critical edition of the composer’s oeuvre. Together with his operas the series presents his songs his choral music and sacred pieces and his string quartet and other instrumental works. Based on Verdi’s autograph score and an examination of important secondary sources including contemporary manuscript copies and performing parts this edition of Il trovatore identifies and resolves numerous ambiguities of harmony melodic detail text and phrasing that have marred previous scores. Scholars and performers alike will find a wealth of information in the critical apparatus to inform their research and interpretations. _ e introductionto the score outlines the work’s genesis sources and performance history while the critical commentary discusses all editorial decisions.

Per Gli Sponsali Di Teti e Peleo - HWV 73-The main text of this edition of Handel?s wedding serenata ?Parnasso in festa per gli sponsali di Teti e Peleo? (HWV 73) is based on the version used for the work?s first performances in March of 1734. Three appendices retrace the complex history of the work significantly different versions of which were used for revival performances in 1737 1740 and 1741. Included are abandoned and modified parts of the score as well as a documentation of changes made to the characters.Handel composed ?Parnasso in festa? for the wedding of Anne Princess Royal and Prince William of Orange which took place on March 14 1734 in London. As Handel?s contribution to the publicfestivities the serenata was performed the evening before the nuptials at King?s Theatre in the Haymarket. The bridal couple attended the performance.While the Italian text of the serenata was newly set most likely by Giacomo Rossi most of the music was drawn from pieces of Handel?s earlier works among them ?Athalia? from ?Radamisto? (HWV 12a) ?Il trionfo del Tempo e del Disinganno? (HWV 46a) and ?Delirio amoroso? (HWV 99). Newly composed parts are limited to eight vocal pieces the sinfonia at the beginning of part 3 and the beginning of the overture. The available source material reflects the history of the work: There is no autograph composition score while the conducting score reflects a collaboration between Handel and his main copyist John Christopher Smith senior. However composition scores of individual newly composed pieces have been preserved.New edition based on the latest research after thorough examination of all relevant primary and secondary sourcesExtensive editorial Foreword about the work?s conception mythological background transmission reception and a survey of sources (Ger/Eng) with extensive critical report (Eng)Selected musical facsimiles as well as complete facsimile of the printed libretto of 1734Urtext of the Halle Handel EditionFull score (BA10718-01) and vocal score (BA10718-90) available for salePerformance material (BA10718-72) available for hire

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