Puccini est un mystère. Populaire et pourtant méconnu. Médiatique et pourtant secret. Mimì, Tosca et Madame Butterfly, si émouvantes et immédiates, font oublier la modernité musicale de La Fille du Far West ou de Turandot. Car Puccini est un homme de son temps et son temps est le xxe siècle. Siècle de l'image : l'opéra puccinien sera cinématographique autant qu'intimiste.Ce Mode d'emploi se propose d'éclairer ce mystère de l'intérieur. / Voix

Ce document, unique par son ISBN 9790041401263 a été conçu par Puccini Giacomo et a pour titre CANTOLOPERA: PUCCINI GOLD. Il fait partie de la catégorie Classique. / Voix Et Piano / Partition

Manon Lescaut is the fi rst volume of the series 'The operas of Giacomo Puccini? - Critical Edition - in collaboration with Archivio storico Ricordi and Fondazione Simonetta Puccini. It makes available the three main versions of the opera that have survived in various sources: an 1893 version, with the original Act I finale, the fi rst version of Manon's Act IV aria, and the uncut version of the fi nal duet in Act IV- a 'midcareer? version imagined by Puccini in the fi rst decade of the new century, when he sanctioned the almost complete omission of Manon's Act IV aria- and fi nally the last version that Puccini lived to approve, with Manon's aria restored, albeit with a revised literary text. The volume is introduced by a preface to the Puccini Critical Edition, an historical introduction, a detailed description of the opera's many sources and a lengthy critical commentary which discusses numerous problematic details in the musical text. / Voix Et Piano

Ed. critica di Martin Deasy - Riduzione per canto e pianoforte. Par PUCCINI GIACOMO. Here, appearing for the first time, is the piano vocal score of Le Willis, Giacomo Puccini’s first stage work, whose full score remained unpublished until 2020, when it was issued by Casa Ricordi (NR 139546).The critical edition by Martin Deasy is based, as far as the first six Numbers are concerned, on the autograph score that Puccini reutilized for composing Le Villi. The autograph pages incorporating the final Number – pages that were later removed, in order to make space for the new material produced for Le Villi– are also proposed as the principal text.Pursuing an innovative philological approach, the editor has, furthermore, taken into due consideration the contemporaneous printed editions of the piano vocal score, on the assumption that they constitute the principal collateral sources, if one considers 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 proves that the vocal material produced for the first performance of Willis was not copied 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./ Répertoire / Chant et Piano

Full Score. Par PUCCINI GIACOMO. The premiere of La Bohème took place at the Teatro Regio in Turin on 1 February 1896. Giuseppe Giacosa and Luigi Illica based their libretto for this opera on Scènes de la vie de Bohème by Henry Murger. It took Puccini only a fewmonths to complete a score brimming with wonderful melodic invention and orchestrational genius. The music is a surprisingly supple and sensitive medium for depicting a variety of emotions that animate the young: reckless living full of stop-gapexpedients, erratic feelings and sudden explosions of noble sentiment, the driving ambitions of one’s art. Puccini’s musical imagery illuminates the different moments and moods of the story with a delicate yet intense lyrical quality; just as therapid decline and death of Mimì, subtle yet invincible, remind us of the universal reality that all things must inevitably come to an end. On the cover: “Al Quartiere Latino”, sketch by Riccardo Salvadori, as a variation on the sketch by Adolf Hohenstein for the world premiere in Turin of Bohème, 1896 © Archivio Storico Ricordi/ Répertoire / Oeuvres Théâtrales/Oratorios et Ballets

Italiano. Par PUCCINI GIACOMO. Giacomo Puccini's La Bohème. Vocal score for voice with piano accompaniment./ Répertoire / Chant et Piano

Giacomo Puccini: La Rondine UE9653B Lyric Comedy in 3 Acts Edition type: piano reduction Composer: Puccini Giacomo Version: 1. Fassung [Edition 1917] Languages: English, Italian

Par PUCCINI GIACOMO. Puccini wrote the short Requiem – actually the setting of the antiphon to the Introit of the Mass for the Dead – as a commission for the publisher Giulio Ricordi for the fourth anniversary of the death of Giuseppe Verdi, which occurred on 27 January1905. Today the work is often performed, since this setting for three voices can be easily performed by amateur choirs and requires only a viola and a harmonium [or organ] as accompanying instruments. / Requiem / Répertoire / Choeur STB, Alto Solo et Orgue

Par PUCCINI GIACOMO. Spartito per voce e pianoforte della celebre opera di Giacomo Puccini rappresentata per la prima volta al Teatro Costanzi di Roma il 14 gennaio 1900. / Stage Works Vocal Scores / Répertoire / Choeurs d'Opéra

Contents : Verdi: Rittorna vincitor! (Aida) - Oh patria mia (Aida) - Tu che le vanita (Don Carlo) - Ernani, involami (Ernani) - Madre, pietosa Vergine (La Forza del Destino) - Pace, pace Mio Dio (La Forza del Destino) - Salce, Salce and Ave Maria (Otello) - Come in quest' ora bruna (Simon Boccanegra) - Tacea la Notte placida (Il Trovatore) - D'amor sull'ali rosee (Il Trovatore) - Gluck: Divinites du Styx (Alceste) - Smetana: Marenka's Aria (The Bartered Bride) - Puccini: Mi chiamano Mimì (La Bohème) - In quelle trine morbide (Manon Lescaut) - Bizet: Je dis que rien ne m'epouvante (Carmen) - Massenet: Pleurez! pleurez, mes yeux! (Le Cid) - Il est doux, il est bon (Herodiade) - Obeissons quand leur voix appelle (Manon) - Offenbach: Elle a fui, la tourterelle (Les Contes D'Hoffmann) - Mozart: Come scoglio (Così fan tutte) - Non mi dir (Don Giovanni) - Deh vieni, non tardar (Le Nozze di Figaro) - Porgi, amor, qualche ristoro (Le Nozze di Figaro) - Ach, ich fühl's (Die Zauberflöte) - Tchaikovsky: Tatiana's Letter Scene (Eugene Onegin) - Gounod: The King of Thule and the Jewel Song (Faust) - Beethoven: Abscheulicher! wo eilst du hin' (Fidelio) - J. Strauss: Klange der Heimat (Die Fledermaus) - Mein Herr Marquis (Adele's Laughing Song) (Die Fledermaus) - Wagner: Traft ihr das Schiff' (Der Fliegender Hollander) - Einsam in truben Tagen (Lohengrin) - Euch Luften (Lohengrin) - Dich, theure Halle (Tannhäuser) - Allmacht'ge Jungfrau (Tannhäuser) - Mild und leise (Tristan und Isolde) - Der Manner Sippe (Die Walkure) - C.M. von Weber: Und ob die Wolke (Der Freischütz) - Wie nahte mir der Schlummer (Der Freischütz) - Ozean! du Ungeheuer (Oberon) - Meyerbeer: Parmi les pleurs (Les Huguenots) - Leoncavallo: Stridono lassu (Pagliacci) - Monsigny: Il regardait mon bouquet (Le Roi et le Fermier).

Ce document, unique par son ISBN 9790041355856 a été conçu par Puccini Giacomo et a pour titre ARIAS FOR TENOR PER CANTO E PIANOFORTE . Il fait partie de la catégorie Classique. / Voix Et Piano / Partition

Magnifiques chorals arrangements de classiques préférés, sélectionnés et édité par Ralph Allwood. Comprend des oeuvres de Schubert, Grieg, Delius, Puccini et Barber. / Voix / Partition

Horn, Paul (Arr.). Par PUCCINI GIACOMO. Messen, lateinisch - Langue : Latin/ Répertoire / Solistes s TB, Choeur SATB, Piccolo, 2 Flûtes Trav

Aus: Gianni Schicchi. Par PUCCINI GIACOMO. Tonalité : As-Dur - Gottwald, Clytus (Arr. ) -/ Répertoire / Choeur SSSSAAAATTTTBBBB

Horn, Paul (Arr.). Par PUCCINI GIACOMO. Messen, lateinisch - Langue : Latin/ Répertoire / Solistes (S) TB, Choeur SATB, Piccolo, 2 Flûtes Tr