Référence unique par son ISBN 73999074383 cette partition musique de Donizetti Gaetano n'est autre que Donizetti Fille Du Regiment Opera Libretto qui a été composée pour Voix. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Hal Leonard. La référence catalogue de cette oeuvre est HL50340580. / Voix / 42 pages / Partition

A major dramatic work for children published for the first time. This is an exciting opera for schools community groups and professional companies to perform exploring universal issues of tolerance love and friendship communication and language.

Miss Fortune by British composer Judith Weir is a contemporary re-telling of a Sicilian folk story. Tina’s wealthy family lose all their possessions overnight and she is thrown into a life ofpoverty. When her life’s course turns from bad to worse she makes a date with Fate. Her fortunes mysteriously change and after several fortuitous happenings she regains wealth and possibly a husband.The opera exploreswhat it means to be rich or poor; the mysteries of everyday life; and the effects of chance luck and accident on human existence.Miss Fortune had its premiere at the Bregenz Festival in summer 2011.

Handel's dramatic cantata Apollo And Daphne belongs to the composer's early years in Italy. It seems likely to have been written in Rome where Handel lived intermittently between 1707 and 1710. Opera in Rome had beenplaced under a papal ban but musical society in the performance of dramatic cantatas which possessed most of the features of opera without requiring elaborate staging. Handel's plainly dramatic intentions in this cantata arereinforced by the appearance of much of its music in his later operas.

Par MC NEFF STEPHEN. My research for Banished began with a small group of students during a Trinity Laban co-lab period in 2013, though the idea goes back over 30 years when I first saw Steve Gooch’s Female Transport and stored the idea of adapting it as an opera until the right opportunity arose. I have been involved in opera for a long time and it has always been a frustration for me that while there is an abundance of female talent (particularly so in conservatories and colleges) there is a noticeable lack of challenging roles available for young women. The roles most often undertaken are maids or innocent girls, compliant wives or tomboys. Not that the problem is necessarily confined exclusively to young women, but where good roles exist, the women are all too often merely passive or victims. Things happen to them rather than them making things happen. They are unable to influence their circumstances and are usually resigned to their fate. Worse still, they are often judged in some way responsible for what happens to them, culpable even because of their looks, their way of life or a streak of independence. Just think about Mimi, Carmen and Violetta (to name only three on a long list). All these characters die, and their attempts at individuality contribute to their demise in some way that they have no control over. With some exceptions female characters in opera are too often sad, mad or bad. Redressing this balance and taking advantage of the richness in vocal talent is only one reason to write an opera reflecting the reality of a group of strong women who work things out for themselves. The transportation of people to Australia at the beginning of the nineteenth century is not a particularly well understood part of history beyond a sort of folk myth. What were the circumstances, who were the people and what happened to them? Opera does not exist to completely answer these questions, but it can focus on the women as individuals and help tell their story. (All the women named in the opera actually existed.) My approach has to been to put the women’s narrative centre stage and, in the confines of an oppressive, dangerous environment go with them on their journey as they survive or sink. The demands on the women are huge. At every turn they are oppressed by their jailers, the system that brought them here and their own low expectations. They have to work out ways to overcome these odds. We discover them through their music in solos and ensembles, sometimes reflective, at other times boasting about their lives a petty criminals and trying to establish status and pecking order. Alongside this I have used references to music of the time to create another reality built on larger ensembles and choruses. This is a sort of collective consciousness aware of loss, longing and context – even of a broad political dimension to the realities of Transportation. Despite the acute awareness of their circumstances in these ensembles, there is also a resilience and strength that transcends the individual stories. Stephen McNeff / Instrumental Music / Répertoire / Voix

Igor Stravinsky's Renard is a one-act opera that tells a burlesque tale of a devious fox who deceives a number of other animals. This corrected and revised edition of the Vocal Scoreis edited by Millan Sachania. Renard was composed in 1916 after being commissioned by socialite Winaretta Singer. The lyrics of the work are in Russian Russian transliteration and French.Renard is often seen by critics as a satire either on political or religious themes with Renard the fox and the other farmyard animals symbolising key figures of authority at the time. The premiere wasstaged in Paris in 1922 by the Russian ballet to great national and international attention.   Stravinsky's brilliant work for Ensemble and Voices is now available in VocalScore format. Pick it up today for an unusual opera-ballet with interesting historical and political undertones.

Saint-Saens originally began work on Samson and Delilah as an oratorio until persuaded by his librettest Ferdinand Lemaire to write it as an opera. The work is a synthesis of Wagnerian drama and French and Italian operatic forms containing skillful structures and eloquent melodies. As one of the brightest jewels of French opera the work is considered 'a dream of antique purity and modern orchestral experimentation ' which thoroughly demonstrates Saint-Saëns' compositional capabilities. This is the Schirmer edition of the Vocal Score and is in English and the original French.

from the opera A Streetcar Named Desire based on the play by Tennessee Williams-From the wonderful new American opera A Streetcar Named Desire (based on the unforgettable Tennessee Williams play). For soprano and piano.

from the opera A Streetcar Named Desire based on the play by Tennessee Williams-From the wonderful new American opera A Streetcar Named Desire (based on the unforgettable Tennessee Williams play). Most notably recorded by Ren?e Fleming. For soprano voice and piano.

Mount of Olives?(also referred to by the full title ?Christ on the Mount of Olives?) Op. 85 is an oratorio by?Ludwig van Beethoven?portraying the emotional turmoil of Jesus in the garden of Gethsemane prior to his crucifixion. The libretto in German is by the poet Franz Xaver Huber. It was first performed on April 5 1803 at the Theater an der Wien in Vienna; in 1811 it was revised by?Beethoven?for publication by Breitkopf & Härtel.Mount of Olives?is a dramatic oratorio rather than a religious choral Mass or a dramatic opera and isconsidered a much more humanistic portrayal of the Christ passion than other settings such as those by Bach. It concludes at the point of Jesus personally accepting his fate placing the emphasis on his own decision rather than the later Crucifixion or Resurrection.?Novello edition for Voice. A complete performance lasts approximately 50 minutes.

Soprano and Mezzo-Soprano Duet. This duet from the opera The Newport Rivals has an inspirational and poetic text about love that would not be out of place at a wedding.

This major new edition of perhaps the world’s most popular opera includes French and English text incorporates the original dialogues and is backed up by complete orchestral performance material. Unique sources: includes information derived from documentation of French productions of Bizet’s time – aspects not preserved in the scores or librettos at the time nor represented in other current editions. Informative and practical: a comprehensive preface (in English French and German) provides fascinating background information to the edition and practical guidance to the performance of Carmen

The two-act zarzuela Marina was premiered on September 21 1855 at Madrid's Teatro Circo. Despite a cool initial reception many musicians could sense its popular potential. Gaztambide wrote to the poet López de Ayala:'Emilio's new zarzuela Marina is most outstanding; a true Spanish Opera sure to please the crowd; it will I'm sure be much liked'. Indeed it was and when the tenor Enrico Tamberlick expressed a wish to play Jorge at the Teatro Real Arrieta had no hesitation in agreeing to expand it into the through-written 3-act form familiar today.

Inspired by the darkly surreal world of Franz Kafka Francisco Coll?s first chamber opera Café Kafka is an explosive gem. Taking its cue from Meredith Oakes? punchy cleverly-assembled libretto this dazzling score brings out every nuance of the bizarre scenario?s comedy irony and profundity.