(An Extravaganza in One Act). By William Walton (1902-1983). For Opera (flute ( piccolo), oboe ( english horn), clarinet, bassoon, horn, trumpet, trombone, 2 percussion, harp, piano, strings quintet or full strings. Percussion: tbells, timpani, suspended cymbal, tenor drum, snare drum, crotales, 3 wood blocks, tambourine, vib). Operas and Stage Works. William Walton Edition. Miscellaneous. Vocal score. 100 pages. Duration 50'. Published by Oxford University Press

(A Chamber Opera in One Act). By Gustav Holst (1874-1934). For Voice. Masterworks; Score; Vocal (Opera) Score. Faber Edition. 20th Century; Masterwork; Romantic. Published by Faber Music

Opera

SKU: HL.14015279

Composed by Simon Holt. Music Sales America. Opera or Operetta. Part. Composed 2003. 180 pages. Chester Music #CH61418. Published by Chester Music (HL.14015279).

ISBN 9780711995796.

This new Opera was first performed in 1998 in Huddersfield by Opera North. Designed for the modern stage, it utilises only a small cast and orchestra - albeit one with a good variety of percussion! The libretto is adapted by the composer from the play 'The Love of Don Pemperlin for Belisa in the Garden' by Feredico Garcia Lorca, translated into English by David Johnston. The plot revolves around the ill-fated marriage of Don Pemperlin, an ageing bachelor and his beautiful neighbour Belisa, which was suggested by Pemperlin's maid. Tricks and misunderstandings abound and because of them, Pemperlin ends by stabbing himself and dying even as Belisa proclaims her love for him.

Opera

SKU: HL.14014797

Composed by Hans Werner Henze. Music Sales America. Opera or Operetta. Score. Composed 2002. 362 pages. Chester Music #CH63415. Published by Chester Music (HL.14014797).

ISBN 9781844496389. 9.5x13.75x9.74 inches.

The fifteenth full Opera from the prolific Hans Werner Henze, and the first to feature a self-penned libretto. After the poems he wrote for his Songs from the Arabian, Henze has produced this unusal tale through adapting both Arab and Persian legends and invoking the same half-real, half-imaginary Arabia as the song cycle. The story itself is a fairy tale comedy with much in common with The Magic Flute. The orchestral arrangement is huge, featuring quadruple wind, five percussionists and a part for tape.