Music Minus One Vocal. Par LLOYD WEBBER ANDREW. All that's missing are your vocals! The music in this book includes the lyrics, vocal lines, and piano accompaniments for eight favorites from this legendary musical classic by Andrew Lloyd Webber. The online audio tracks contain professionally-produced sound-alike audio tracks for performance for 8 songs from the cast recording, including: All I Ask of You - Angel of Music - Masquerade - The Music of the Night - The Phantom of the Opera - The Point of No Return - Think of Me - Wishing You Were Somehow Here Again. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right./ Recueil / Chant

Par ALENIUS LOUISE. Vocal score for Silent Zone - A Chamber Opera (2016-17) by Louise Alenius. Commissioned by Copenhagen Opera Festival. Text by the composer. Instr.: S,Ct.B - boys choir - perc.pf(cel).vn.va.vc.db Score: WH 32955 Parts are avilable on hire: hire@ewh.dk/ Répertoire / Voix

La mélodie de façon spectaculaire flambée de cette chanson de The Phantom of the Opera est extraordinaire! Disponible: SATB, SAB, Instrumental Pak. Temps de Performance: Env. 03:40. / Voix

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

Par FAGERLUND SEBASTIAN. Based on the film by Ingmar Bergman, Sebastian Fagerlund’s Autumn Sonata follows Charlotte Andergast, a celebrated concert pianist, as she visits the country home of her adult daughter, Eva. Charlotte has not seen Eva for seven years, during which time Eva and her husband Viktor have lost their three-year-old son Erik. Eva’s sister, Helena (Charlotte’s daughter), had been held in an institution but now (unbeknownst to Charlotte) lives with Eva and Viktor. Charlotte brings with her her need for adulation, imagining the chorus as an admiring concert audience applauding her every decision. When the family members converge under one roof after years of separation, they begin to delve into the past and old wounds?despite their good intentions?are reopened. Autumn Sonata was commissioned by the Finnish National Opera and premiered in Helsinki on 8 September 2017 with the Finnish National Opera Orchestra and Chorus conducted by John Storgårds. The direction and set design was made by Stéphane Braunschweig and the premiere cast included Anne Sofie von Otter, Erika Sunnegårdh, Helena Juntunen, Tommi Hakala and Nicholas Söderlund. / Instrumental Music / Répertoire / Voix

Cette méthode contient un programme complet d'échauffement vocaux efficaces adaptable à tous les styles de chants, du jazz à la folk en passant par l'opera. Elle vous guidera au cours de 39 exercices different à préparer votre voix pour chanter en minimisant les risques de stress ou de blessure. La Carte de Téléchargement incluse vous permettra d'écouter des instructions parlées, aussi bien que les exemples audio de chaque exercice de la méthode. L'Auteur Paul Knight a été un coach vocal pendant plus de trente ans aussi bien qu'un maître de conférences et un consultant au niveau international. / Voix

Par COLL FRANCISCO. Inspired by the darkly surreal world of Franz Kafka, Francisco Coll's first chamber opera 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./ Répertoire / Voix

Par O’SULLIVAN GILBERT. The Gondoliers was Gilbert and Sullivan’s last great success. In this opera, Gilbert returns to the subject of class distinctions and it’s background connected with Venice and Venetian life. / Songbooks, Vocal Music / Répertoire / Livret

Par MOZART WOLFGANG AMADEUS. Among Mozart's most popular works, The Magic Flute has enchanted listeners since it was first performed in 1791. Originally intended to be a singspiel, filled with traditional comic, exotic, and fairytale elements, the work greatly transcended those limitations, and is widely regarded as one of the greatest operas of the entire repertoire. This publication contains the complete vocal score. German/Italian text. Libretto by Emanuel Schikaneder. / Opéra-opérette / Répertoire / Voix