Tolomeo was Handel?s last opera for the Royal Academy of Music in London. Composed between March and 19 April 1728 it was premiered on 30 April. Handel revived the opera several times further: in 1730 in an extensive revision with seven performances and in 1733 with four performances.The historical background is the dispute between Cleopatra III and her younger son Ptolemaio X Alexander I ( Tolomeo ). In 110 BC Cleopatra drove Tolomeo out of Egypt. She died irreconciled to him in 101 BC.The new vocal score is based on the ?Halle Handel Edition?. The main part contains the version from the premiere. The extensiveappendix also enables later versions to be performed.Based on the Urtext of the Halle Handel Edition.Thoroughly revised practical performing vocal score.Italian text with German singing translation.Detailed foreword in two languages (German/English).Also available: full score and performance material to hire.

 MATERIEL D'ORCHESTRE - PARTIES SEPAREES Musique de Bruno Rossignol, texte de Jean-Yves AgardTraduction en occitan limousin de Patrick Ratineaud Le texte de 'La fin dau monde' aborde essentiellement le thème de la transmission, On y découvre une soirée familiale en Périgord Vert, le soir de la grande tempête de 1999 , Alors que le réveillon se prépare paisiblement au sein de la famille, la tempête, personnifiée sous la forme du diable 'châtieur', va reprendre son dû, de manière extrêmement violente, Le texte est en Occitan contemporain, une langue qui est, elle-même, en danger de disparition, Ainsi, la tempête de 1999 est proposée comme allégorie d'instrument de destruction culturelle dans les esprits et les paysages? D'une 'fin du monde' éponyme, le conte suggère de réveiller quelques consciences afin d'éviter la fin 'd'un' monde,L'oeuvre musicale se découpe en 17 tableaux et met en jeu 1 récitant, une mezzo-soprano, un choeur d'enfants, un choeur d'adultes et un orchestre symphonique, souvent réduit à une instrumentation qui inclut une vielle à roue et un riche instrumentarium de percussions, NOMENCLATURE Mezzo-sopranoRécitantVielle à roue Choeur mixte SATB Harpe, piano Flûtes, hautbois, clarinettes div,, clarinette bassebassonsCors div,, trompettes div, Violons 1 et 2, altos, violoncelles, contrebasses Timbales, percussions div, PUBLICATION REALISEE AVEC LE SOUTIEN DU FONDS POUR LA CREATION MUSICALE  / Solistes Et Orchestre

Opera in three acts-“Almira” Handel’s first opera was well received when premiered in 1705 at the Theater am Gänsemarkt in Hamburg. The director was Reinhard Keiser who remarkably had himself already set Friedrich Christian Feustking’s text to music. The role of Fernando was sung by Johann Mattheson. The translation used by Handel leaves several Italian arias in their original language resulting in a delightful mixture of German and Italian.The opera which after sundry entangled romances ends in the wedding of three couples is characterised by exuberant scenes: the procession at Almira’scrowning ceremony a duel a prison scene and a masked-ball involving the three continents Europe Africa and Asia.The vocal score to “Almira” by George Frideric Handel brings about a small sensation: Whilst conducting a reenactment of this work in 1732 Georg Philipp Telemann removed the Aria no. 28 “Ingrato spietato” from his conducting score. Since then this aria has been deemed lost. Due to necessity only the edited vocal text devoid of any music was presented in the 1994 volume of the “Halle Handel Edition”.Thanks to a recently discovered contemporary manuscript copy from the beginning of the 18th century which was found in the music library of the Mariengymnasium in Jever this aria has now been made available to performers for the first time in this new vocal score edition. Previous to this the corresponding pages could only be seen as a facsimile in an article of the “Göttinger Händel-Beiträge”.Now the aria can be performed again. Furthermore with the help of this new source missing measures in the basso continuo which had initially been completed by the editor of the “Halle Handel Edition” volume could be reconstructed from the basso continuo part of the Bellante aria “Ich brenne zwar” (no. 71).- Urtext edition based on the “Halle Handel Edition”- Original German and Italian text with a German translation of the Italian arias

 Musique de Bruno Rossignol, texte de Jean-Yves AgardTraduction en occitan limousin de Patrick Ratineaud Le texte de 'La fin dau monde' aborde essentiellement le thème de la transmission, On y découvre une soirée familiale en Périgord Vert, le soir de la grande tempête de 1999 , Alors que le réveillon se prépare paisiblement au sein de la famille, la tempête, personnifiée sous la forme du diable 'châtieur', va reprendre son dû, de manière extrêmement violente, Le texte est en Occitan contemporain, une langue qui est, elle-même, en danger de disparition, Ainsi, la tempête de 1999 est proposée comme allégorie d'instrument de destruction culturelle dans les esprits et les paysages? D'une 'fin du monde' éponyme, le conte suggère de réveiller quelques consciences afin d'éviter la fin 'd'un' monde,L'oeuvre musicale se découpe en 17 tableaux et met en jeu 1 récitant, une mezzo-soprano, un choeur d'enfants, un choeur d'adultes et un orchestre symphonique, souvent réduit à une instrumentation qui inclut une vielle à roue et un riche instrumentarium de percussions, NOMENCLATURE Mezzo-sopranoRécitantVielle à roue Choeur mixte SATB Harpe, piano Flûtes, hautbois, clarinettes div,, clarinette bassebassonsCors div,, trompettes div, Violons 1 et 2, altos, violoncelles, contrebasses Timbales, percussions div, PUBLICATION REALISEE AVEC LE SOUTIEN DU FONDS POUR LA CREATION MUSICALE  / Solistes Et Orchestre

Par HAYDN FRANZ JOSEF. The newly-built opera house in the park at Schloss Eszterháza was opened in September 1768 with Lo Speziale . The work has combinations of roles and the complications typical for opera buffa . The two youths Mengone and Volpino complete for the affections of Grilletta , the pretty ward of the strange apothecary Sempronio . But the apothecary would prefer the girl for himself. In the end, true love triumphs. Unfortunately, the score of Lo Speziale has not survived the centuries in a complete form. Parts of the music of the third act are lost. The corresponding text has been taken from the libretto. The appendix includes a second version of aria #7, which has survived in Haydn's autograph . The vocal score is based on the Urtext of the corresponding volume of the Haydn Complete Edition (XXV/3, 1959) and the Critical Commentary./ Répertoire / Chant