Par GILBERT WILLIAM SCHWENCK / SULLIVAN ARTHUR. Having a rather idealistic view of England and the English people, King Paramount of the south sea island of Utopia decides that his people should adopt all English customs and fashions, and that the kingdom should become a company limited . Utopia Limited , or The Flowers Of Progress , is a Savoy Opera, with music by Arthur Sullivan and Libretto by W.S. Gilbert. It was the second-to-last of Gilbert and Sullivan's fourteen collaborations, premiering on October 7, 1893 for a run of 245 performances. Available here is the vocal score of the Opera. / Niveau : Elémentaire / TV, Film, Comédie musicale / Recueil / Chant et Piano

Opera in 3 acts, Text: Meredith Oakes, after Shakespeare. Par ADES THOMAS. 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. / Opéra-opérette / Livre / Livret

Par BENJAMIN GEORGE. Premiered in 2018, the 90-minute opera Lessons in Love and Violence delves into the dark and turbulent events of Edward II's life and death. George Benjamin and Martin Crimp's third collaboration, it unfolds as a taut slow burning arch of seven tableaux. This work boasts particularly rich string textures, and is coloured by basset horn and cimbalom together with a pair of harps, celesta, and percussion (including talking drums and tombak). Several of the opera's powerful interludes are dominated by braying, sardonic brass - with tuba substituted by the more menacing contrabass trombone. There is also much spectacular ensemble writing: in Scene Three's play within a play, several strands of independent music collide, and the result is perhaps one of the most complex musical structures Benjamin has ever tackled. The music's relationship to the drama is often unstable and seemingly very spontaneous, but beneath it all one senses a rigorous architecture, unflinchingly guiding the listener deeper and deeper into the opera's disquieting emotional world. This full score is a perfect accompaniment to the previously published vocal score and text. / Musique contemporaine / Répertoire / Opéra

Monteverdi's opera 'L'Orfeo', based on the legend of Thracian singer Orpheus and his love of Eurydice, is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the 'Palazzo Ducale' in Mantua.When an edition remains true to its sources, this certainly does not mean that it is not also practical to use, as is demonstrated in this Bärenreiter edition of Monteverdi's 'L'Orfeo'. Edited by Rinaldo Alessandrini, the new publication follows the Bärenreiter edition of Monteverdi's 'Il ritorno d'Ulisse in patria'.Two contemporary prints of 'L'Orfeo' from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However, when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants, not only between the two editions but also amongst the eight surviving copies, are listed in the critical commentary.This edition of 'L'Orfeo' offers in addition to Monteverdi's somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should, however, feel free to follow his own judgment. The notation has been, when necessary, adapted to suit modern practice, for example with regard to the clefs. The sections that were originally written in 'chiavetta' have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower.- Detailed introduction by the editor (Ital/Eng/Ger) on the work's genesis and performance practice- Comprehensive critical commentary (Eng) in the score- Idiomatic piano reductionEdition no.: BA 8793-90ISMN: 9790006533121Composer / Author: Monteverdi, ClaudioTitle: L'Orfeo Favola in musica in one prologue and five actsDetailed instrumentation: Soprano solo (7), Tenor solo (4), Bass solo (3), Mixed choir: SSATTB, Male choir: TTBBB, OrchestraLibrettist: Striggio, Alessandro (junior)Editor: Alessandrini, RinaldoForeword / Introduction: Alessandrini, RinaldoProduct format: Piano reduction, Urtext editionLanguage(s) of work: ItalianLanguage(s) of text: German, Italian, EnglishPublisher: BärenreiterBinding: PaperbackPrint run: 1st printing 2012Pages / Format: XIV, 143 S. - 27,0 x 19,0 cmWeight: 428 g

Opera in Two Acts Piano/Vocal Score. Par HARBISON JOHN. F. Scott Fitzgerald's classic novel The Great Gatsby was adapted into a two-act opera in 1999 featuring words and music by John Harbison. This book presents all 11 scenes from the opera in a complete piano/vocal score. F. Scott Fitzgerald's classic novel The Great Gatsby was adapted into a two-act opera in 1999 featuring words and music by John Harbison. This book presents all 11 scenes from the opera in a complete piano/vocal score. / Opéra-opérette / Répertoire / Opéra

Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version) Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.) Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique. Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra

The Richard Wagner Complete Edition presents the composer's entire output for the first time in a reliable form. The conductor Michael Balling, in the early years of the 20th century, attempted to make Wagner's work more accessible for research and performance, but the edition only reached 10 volumes - some with grave shortcomings - and was discontinued after Balling's death in 1925. A further attempt at a complete edition by Otto Strobel was abandoned at the preliminary stages.This third attempt at a complete edition will be the first scholarly, critical edition, based on an evaluation of all the accessible source materials and the latest findings of serious Wagner research. As the edition is also intended for practical performance, the musical text has been kept free of philological insertions - these are listed in the appendices of each volume in the Critical Commentary. Numerous, partly unpublished works - some relatively unknown - and variant versions are published here for the first time. The edition presents authentic texts for Wagner specialists and researchers and critically based performing materials. Contrary to widely held opinions, even the well-known works of Wagner are not necessarily available in reliable editions. The genesis, history and performances directed by Wagner himself are extensively documented so as to present as complete an image as possible of Wagner's compositional intentions. / Opéra

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

Tragédie-opéra Drame héroïque en trois actes. Par GLUCK CHRISTOPH WILLIBALD. Christoph Willibald Gluck’s most popular opera “Orphée et Euridice” was performed in 1774 in Paris to sensational success. This new adaption followed the original Viennese version with Italian text that was first performed in 1762 under the direction of the composer in the Burgtheater. For the Paris version Gluck changed the leading part Orpheus from an alto to a tenor role and composed new recitatives. Both versions of Gluck’s reform drama are based on a libretto by Ranieri de’ Calzabigi and revolutionised metastasian opera of the 18th century. Solo and choral music, instrumental music, pantomime and dance are all closely connected; the myth replaces a historical plotsurrounded by intrigue; where there would have been a da-capo aria there are now simple song forms and coloratura is largely abandoned. These meticulously revised vocal scores of both versions are also newly set. Urtext editions based on “Gluck, The Complete Works” Revised and newly set The revised editions are compatible with the old editions T48Full score (BA2282-01) and vocal score (BA2282-90) available for sale Performance material (BA2282-72) available for hire/ Répertoire / Opéra

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

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

Description Purcell Society Edition No.12. The Fairy Queen In Full Score. The drama adapted from Shakespeare's A Midsummer Night's Dream . The work may be perfomed with a minimum of five soloists: Soprano I, Soprano II, Alto or countertenor, or Tenor, Tenor, Bass. The orchestral scoring consists of two recorders, two oboes, two trumpets, timpani, strings and continuo. Orchestral parts are available for hire from the publisher. Vocal Score available for sale. Songlist The Fairy Queen

Par HUMMEL BERTOLD. The overall form of this work in one movement is in seven sections. A slow introduction begins with multiphonics of the saxophone and sounds of cymbals played with a double-bass bow. Vibraphone and marimbaphone provide the chordal foundation for a fanfare-like invocation by the saxophone. The atmosphere of the following Allegro is dominated by an ostinato series of notes taken from the chords of the introduction and played by the marimbaphone - over this, starting from a four-note series, the saxophone develops jazz-influenced figures. The constructional elements are worked into a cadenza-like section, followed by an arioso passage, leading over lightly-pulsating sounds to a final climax with a B-A-C-H (B flat - A - C - B) quotation in the saxophone. Once again, it continues with a cadenza-like section. Slap in the saxophone and stopped notes in the vibraphone and marimbaphone introduce new ideas and sonorities for discussion, the constructional elements are played off against each other in a loose sequence. At the end of this second cadenza, the B-A-C-H (B flat - A - C - B) quotation re-appears in the saxophone. A varied reprise of the first Allegro section leads to a concluding passage, taking up the atmosphere of the introduction, combined however with clear references to the four-note series of the Allegro. The interval of a third is heard and remains hovering in the air to the very end, closing the work in pianissimo./ Répertoire / Saxophone Soprano et Percussions

Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Rameau?s ?Zoroastre? in the version of 1756. Opera in five acts. Rameau?s revised version of his opera ?Zoroastre?, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today?s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau?s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime ?Hymne à la Lumière?, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with ?Zoroastre? the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck?s opera reform by many years. - One of Rameau?s main works for the stage, now available with all its versions - With a straight-forward piano reduction in the vocal score by François Saint-Yves - Available on sale full score (B0A8867-01) and vocal score (BA08867-90) - Performance material available for hire BA08867-72 - Jean-Philippe Rameau - Opera Omnia (OOR) IV/26 / Date parution : 2022-07-30/ Répertoire / Chant et Piano