Par VIVALDI ANTONIO. C'est seulement en 1713 que Vivaldi aborde l'opéra ; certaines sources parlent de 94 productions, mais seules 50 ont été identifiées. La musique de ces opéras n'ayant pas été imprimée, contrairement aux livrets, il ne reste trace (complète ou partielle) que d'une vingtaine d'opéras. Impresario du Teatro San Angelo de Venise, Vivaldi écrira la majorité de ces opéras pour ce théâtre. Les 30 airs de ce recueil sont proposés en réduction chant-clavier, pour voix de contre-ténor, extraits des opéras : Andromeda Liberata, Ottone in villa, L'Olimpiade, Tietiberga, Tito Manlio, Il Tigrane, Bajazet, Il Giustino, Olando finto pazzo, La Verità in cimento, La Fida nonfa, Orlando Furioso. / Date parution : 2014-07-01/ Recueil / Contre Ténor

NOUVELLE ÉDITION 2017 - AUGMENTÉE Partition musicale (musical score) : Format A4, reliure cousue, couverture cartonnée 130 pages, Papier ivoire 90g avec notice biographique, synopsis, commentaire de l'?uvre, et repères musicologiques. Chaque air est traduit et présenté dans le contexte de l'opéra, ISBN 9782849263372 Réf. EB-2-337 C'est seulement en 1713 que Vivaldi aborde l'opéra ; certaines sources parlent de 94 productions, mais seules 50 ont été identifiées. La musique de ces opéras n'ayant pas été imprimée, contrairement aux livrets, il ne reste trace (complète ou partielle) que d'une vingtaine d'opéras. Impresario du Teatro San Angelo de Venise, Vivaldi écrira la majorité de ces opéras pour ce théâtre. Les opéras de Vivaldi sont riches en arias d'une extraordinaire beauté. Envoutants, languissants, passionés, terrorisés, fâchés, les sentiments sont peints avec sensualité. Les 27 airs de ce recueil sont proposés en réduction chant-clavier, pour voix de mezzo, extraits des opéras :Farnace, Bajazet, Tito Manlio, Argippo, Andromeda liberata, Ottone in villa, L'Olimpiade, Il Giustino, la Verita in cimento, la Fida ninfa, Orlando Furioso. Gelido in ogni vena Dividete, o giusti Dei Sposa, son disprezzata Combatta un gentil cor Sonno se pur sei Se lento ancora il fulmine [transposition en sol mineur] Sovvente il sole Leggi almeno, tiranna infedele Ah che non posso, non lasciar d?amare Sento in seno ch?in pioggia di lagrime Mentre dormi, amor fomenti Ne giorni felici Vedro con mio diletto Ne vostri dolci sguardi Il ciglio arciero Fragil fior, ch?appena nasce Cara sorte di chi nata Alza in quegl?occhi Asconderò il mio sdegno Amorose ai rai del sole Voresti amor da me Taci, non ti lagnar Qual candido fiore Che dolce più, che più giocondo stato Io son ne? lacci tuoi Vorrebbe amando il cor Anderò, chiamerò dal profondo

Par VIVALDI ANTONIO. C'est seulement en 1713 que Vivaldi aborde l'opéra - certaines sources parlent de 94 productions, mais seules 50 ont été identifiées. La musique de ces opéras n'ayant pas été imprimée, contrairement aux livrets, il ne reste trace (complète ou partielle) que d'une vingtaine d'opéras. Impresario du Teatro San Angelo de Venise, Vivaldi écrira la majorité de ces opéras pour ce théâtre. Les opéras de Vivaldi sont riches en arias d'une extraordinaire beauté. Envoutants, languissants, passionés, terrorisés, fâchés, les sentiments sont peints avec sensualité. Les 17 airs de ce recueil sont proposés en réduction chant-clavier, pour voix de ténor, extraits des opéras : Il Farnace, Atenaïde, Griselda, Catone in Utica La Verità in cimento, La Fida nifa, Orlando Furioso./ Recueil / Tenor et Piano

Par PUCCINI GIACOMO. Madama Butterfly took wing under turbulent circumstances. The premiere (Milan, Teatro alla Scala, 17 February 1904) was a disaster, while a second production only months later (Brescia, Teatro Grande, 28 May 1904) was instead a resounding success. Inthe intervening period the composer had made considerable changes to the score, enough that the result qualifies as a “second version”. Still other changes were to come, however, as the opera toured in successive productions. The definitive version, which is reflected in this edition, was produced in 1906 at the Opéra Comique in Paris and published by Ricordi the following year. Puccini thus invested considerable effort into the creation of his favorite opera – and into shaping the fate of theheroine, herself a manifestation of the extremes of patient waiting and steadfast love. The music is a complete and masterful expression of the pity and disillusionment that surround the figure of Cio-Cio-San: her absolute but misguided hope, herpathetic pretence in the name of love, her miserable demise. / Opéra-opérette / Date parution : 1905-06-21/ Répertoire / Orchestre, Solistes SATB, SATB divisi

Testo Cantato In Italiano-Madama Butterfly took wing under turbulent circumstances. The premiere (Milan Teatro alla Scala 17 February 1904) was a disaster; while a second production only months later (Brescia Teatro Grande 28 May 1904) was instead a resounding success. Inthe intervening period the composer had made considerable changes to the score enough that the result qualifies as a ?second version?. Still other changes were to come however as the opera toured in successive productions. The definitive version which is reflected in this edition was produced in 1906 at the Opéra Comique in Paris and published by Ricordi the following year. Puccini thus invested considerable effort into the creation of his favorite opera ? and into shaping the fate of theheroine herself a manifestation of the extremes of patient waiting and steadfast love. The music is a complete and masterful expression of the pity and disillusionment that surround the figure of Cio-Cio-San: her absolute but misguided hope herpathetic pretence in the name of love her miserable demise.

Suite Per Pianoforte. Par ROTA NINO. Ogni anno punto e da capo (Every Year Again) is a one-act comedy by Eduardo De Filippo, which premiered in 1931 at the Teatro Nuovo in Naples. On the occasion of the revival at the Piccolo Teatro in Milan in 1971, De Filippo asked Nino Rota to edit some songs of the Italian Rivista tradition from the thirties and provide them with additional music. Of the music arranged and composed by Rota, only the piano score published here remained, which probably served as a basis for the instrumental version. / Niveau : Intermédiaire / Répertoire / Piano

What is being presented here is the piano vocal score of Le Villi, Giacomo Puccini’s first stage work, the full score of which was published by Casa Ricordi (NR 141755) in 2020.The premiere of Le Villi took place at the Teatro Regio in Turin on 27 December 1884, and was followed by a Milanese performance at Teatro alla Scala on 24 January 1885: both productions were quite well received by critics and public alike.The critical edition by Martin Deasy is based on the autograph score that Puccini initially prepared for the one-act version (Willis), and later modified for the two-act, revised version (Villi). Pursuing a groundbreaking philological approach, the editor has, furthermore, taken into proper consideration the contemporaneous printed editions of the piano vocal score, which constitute, in his view, the principal collateral sources, if one is to consider the particular genesis of this work. For it is certain that Puccini, upon entering the Sonzogno competition, submitted a score of Willis that lacked proper orchestration in a few pages and displayed, above all, incomplete vocal lines. However, he also provided a manuscript reduction for piano and vocal score (now lost, except for the final Number of Willis) that was undoubtedly more detailed, as far as the vocal lines were concerned. The editor demonstrates that the vocal material realized for the first performance of Willis was not derived from the autograph score, but from the lost score reduction. The latter also served as the basis for the preparation of Ricordi’s printed edition of the piano vocal score. / Partitions classique / Vocale - chorale / Voix solo - piano / RICORDI

Ed. tradizionale - riduzione per canto e pianoforte (testo cantato Inglese-Italiano)-The compete vocal score of Puccini's celebrated Turandot premiered on April 25 1926 at Il Teatro alla Scala in Milan. The last duet and final scene of the opera were completed by F. Alfano. English adaptation by R.H. Elkin.

2 Volumes edizione critica a cura di Ivano Bettin-Some few months after returning to Naples from Rome where he had gone to follow the premiere of L?Olimpiade at the Teatro Tordinona during the 1735 carnival season Giovanni Battista Pergolesi ?? notwithstanding the quickened pace of the disease that would soon bring his brief life to a close ? presented the public with a new work Il Flaminio a ?commedeja pe? mmuseca? set to a libretto by Gennarantonio Federico. The opera was staged as the second of season that fall at the Teatro Nuovo sopra Toledo (one of three traditional venues together with the Teatro dei Fiorentini and the Teatro della Pace dedicated to the production of opere bu e) where it met with a generally favorable reception. The edition is based basically on the Pergolesi?s autograph full score for the third act (kept in Naple Conservatorio di San Pietro a Majella Library) and on a complete manuscript full score copy today in the Abbazia di Montecassino Library. The critical edition is in two volumes and includes a historical Introduction a detailed description of all the sources considered and a Commentary with critical notes and information related to specific problems of performance practice. There is also the facsimile reproduction of the printed libretto.

L'œuvre lyrique de Vivaldi reste paradoxalement méconnue : l'extraordinaire succès rencontré par un petit nombre de concertos a éclipsé tout un pan de ses compositions, notament les opéras, auxquels il consacra pourtant l'essentiel de sa carrière. De 1713 à 1741, Vivaldi donna le jour à une œuvre colossale, préservée en grande partie par la Bibliothèque de Turin : plus de 450 compositions manuscrites, en grande partie autographes. Orlando furioso, drame héroïco-magique représenté au Teatro S. Angelo de Venise à l'automne 1727, prend place à l'exacte mi-temps de la carrière lyrique de Vivaldi. Quatorze années plus tôt, au mois de mai 1713, le Prete Rosso présentait à Vicence son premier opéra connu, Ottone in villa. Quatorze années plus tard, il s'éteignait dans l'oubli après avoir vainement tenté de faire représenter à Vienne son ultime opéra, L'Oracolo in Messenia. Grâce au travail remarquable du librettiste, Grazio Braccioli, qui a su conserver de l'œuvre originale d'Arioste son essence poétique et sa dimension humaniste, Vivaldi y fait éclater le schéma conventionnel du dramma per musica, explorant les formes musicales les plus variées, bousculant la hiérarchie classique des personnages et superposant les actions dramatiques, toutes conduites avec une remarquable efficacité. Près de trois siècles après sa création, l'on demeure confondu face à l'extraordinaire richesse musicale et dramatique de l'œuvre, pièce éblouissante où se mêlent toutes les formes existantes du théâtre chanté. La reconstitution de l'opéra a nécessité un important travail préparatoire sur le manuscrit turinois, particulièrement complexe, mêlant des feuillets soigneusement calligraphiés à des feuillets griffonnés à la hâte et comportant de multiples insertions, fragments ou retranchements, ainsi qu'une numérotation irrégulière des scènes. Jacques Manet en a enfin réalisé une version pour clavier très attendue par les chanteurs, mettant ainsi à la portée du plus grand nombre une œuvre dans sa version complète, telle qu'elle fut conçue en 1727 par Vivaldi. Réduction chant et clavier : format A4, 286 pages, sur papier ivoire - Arrangement pour clavier : Jacques Manet - Présentation : Frédéric Delaméa - Traduction en anglais : Elizabeth Szostak-Clerc

Ed. Critica di Helen M. Greenwald - riduzione per canto e pianoforte-Attila Verdi?s ninth opera and the second of five that he composed for Venice?s Teatro La Fenice had its premiere on 17 March 1846. Verdi was inspired to compose an opera on the subject of Attila by two rather unusual sources Attila König der Hunnen a curious play by a now-forgotten German playwright Friedrich Ludwig Zacharias Werner and Madame de Staël?s discussion of it in her magisterial work on Germany De l?Allemagne. This present reduction is based on the critical edition of the full score that - published in 2012 - is the first complete published version of the full orchestral score and the product of the study of numerous manuscript sources: the autographsources (now kept at the British Library in London at the Library of Congress in Washington D.C. and at the ?Museo del Teatro alla Scala? in Milan) manuscript sources (those kept at Teatro La Fenice in Venice and at Teatro San Carlo in Naple) andthe first piano vocal scores.