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Vous avez sélectionné:
The Plan Opera
CHORALE - CHANT
Piano, Voix
Partitions à imprimer
5 partitions trouvées
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Toasting Mother Earth
Toasting Mother Earth
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Piano, Voix
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AVANCÉ
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Ross Fiddes
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dependent, fragile offspring
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Toasting Mother Earth
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Ross Fiddes
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SheetMusicPlus
Piano,Vocal,Voice - Level 5 - SKU: A0.1255098 Composed by Ross Fiddes. 21st Century,Chamber,Classical,Contemporary. Score. 25 pages. Ross Fiddes #848692...
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Piano,Vocal,Voice - Level 5 - SKU: A0.1255098 Composed by Ross Fiddes. 21st Century,Chamber,Classical,Contemporary. Score. 25 pages. Ross Fiddes #848692. Published by Ross Fiddes (A0.1255098). It was in the aftermath of the 2020 summer bushfires in Australia that soprano Ayse Goknur Shanala rang me from Cyprus to suggest I compose a work about climate change, a subject of concern for me.  My research for lyrics did not elicit anything I considered suitable, so I turned to Derek Dowding, a local poet, singer, actor, raconteur, and a person vitally interested in the future of humanity and of the planet.Derek and I had worked together before – he brilliantly performed the role of Abelard in the workshopping and concert performances of my hybrid opera “Abelard and Heloiseâ€, which, in 1997, won the supreme CONDA (City of Newcastle Drama Award)  for ‘Outstanding Achievement in Newcastle Theatre’ against some 200 other stage productions in Newcastle’s bi-centenary year.Derek worked long and late on the lyrics for the work, producing an emotional document covering history, cause and effect.  His words produced musical responses from me which I consider react appropriately to both his words and the subject matter. I hope our listeners will agree.For the musical treatment I had to consider that the length of the work, through-sung, 20+ minutes, required a recurrent grounding to avoid too many thematic ideas getting in the way of the words.  To that end, I created a quasi-reflective section which appears, rondo-style, quite a few times during the length of the piece.  And, for further cohesion, I built an ABA (ternary) section early to address certain word structures.  Mostly, the various sections followed the stanza structure provided by Derek, with some combinations.  My musical style is essentially melodic, but with dramatic and other episodes, be they tonal, astringent, harmonically indecisive and so on.  In building the work I was principally influenced by the impact and flow of the words.The work is quite mammoth for both the singer and the pianist.  I was absolutely delighted that Anna Fraser again premiered a work of mine – in 2015 she marvellously premiered another major composition of mine, reviewed here:  http://soundslikesydney.com.au/reviews/concert-review-the-man-in-the-other-roomacacia-quartetanna-fraser/19830.htmlWe can only hope that the new work ultimately adds to the chorus of warnings and concern about the climactic future that awaits if we continue to ignore or postpone dramatic and urgent attention to addressing the causes of climate change.A living orb cloaked white and blue and greenRevolving and evolving, tight-hugged in orbit flightWe ride her back; dependent, fragile offspring.Suckling all the while …but have we bonded?A world unlike any other world we’ve seenGifted with Water, Air, Earth and perfect Light.The essentials of life. Freely, these gifts she brings.Free for all but how have we responded?                                   Poem© 2020 Derek DowdingRoss FiddesJanuary 2023.
$35.00
Queen of the Night
Queen of the Night
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Piano, Voix
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INTERMÉDIAIRE
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Opera
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Classique
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Rachel J
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Queen of the Night
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Rachel J Peters
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SheetMusicPlus
Piano,Vocal,Voice - Level 3 - SKU: A0.1302565 Composed by Rachel J. Peters. Classical,Opera. Score. 7 pages. Rachel J Peters #892186. Published by Rache...
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Piano,Vocal,Voice - Level 3 - SKU: A0.1302565 Composed by Rachel J. Peters. Classical,Opera. Score. 7 pages. Rachel J Peters #892186. Published by Rachel J Peters (A0.1302565). Aria for contralto from the opera Lesson Plan DURATION: 4:30WORLD PREMIERE: On Site Opera, 2022Based on Georg Philip Telemann’s cantata, Der Schulmeister, with additional music, libretto, and singing translation by Rachel J. Peters, Lesson Plan brings an international opera star Alice Tommasso awkwardly into teaching online after a scheduling faux pas while live engagements are paused. Intercepted by an overwhelmed school administrator/amateur choir director, the pair clash over technique and the meaning of art. At this point, Alice wonders if her only remaining choices are to teach dilettantes forever or to leave the profession entirely. Alice publicly reveals--in a plaintive deconstruction of Mozart’s famously difficult “Queen of the Night†star turn--what stymies her most: there is simply no way to compress and convey the experience of a hard-won opera singing career in an hour-long class.For more information about this opera, visit www.racheljpeters.com.
$5.00
Moon and Planet
Moon and Planet
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Piano, Voix
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INTERMÉDIAIRE/AVANCÉ
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Rachel J
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Moon and Planet
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Rachel J Peters
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SheetMusicPlus
Piano,Vocal,Voice - Level 4 - SKU: A0.1302211 Composed by Rachel J. Peters. Broadway,Classical,Musical/Show,Opera. Score. 9 pages. Rachel J Peters #8918...
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Piano,Vocal,Voice - Level 4 - SKU: A0.1302211 Composed by Rachel J. Peters. Broadway,Classical,Musical/Show,Opera. Score. 9 pages. Rachel J Peters #891816. Published by Rachel J Peters (A0.1302211). Song for medium voiceMusic and Lyrics by Rachel J. PetersDURATION: 4:00WORLD PREMIERE: New York Public Library of the Performing Arts, 2011A yearning ballad of unrequited love wrapped up in astronomy metaphors.Appropriate for a cabaret or vocal recital setting.
$6.00
Die Walkure
Die Walkure
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Piano, Voix
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Opera
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Richard Wagner
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Die Walkure
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Schott Music - Digital
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SheetMusicPlus
Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Festspiel, Oper. Wagner Urte...
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Der Ring des Nibelungen. Composed by Richard Wagner (1813-1883). This edition: vocal/piano score. Erstveroffentlichung, Festspiel, Oper. Wagner Urtext Piano/Vocal Scores. Downloadable. Schott Music - Digital #Q25919. Published by Schott Music - Digital
German.
An important addition to our newly produced orchestral materials is the first publication of vocal scores of Wagner's ten great operas, in every important version, based on the Complete Edition.
The score corresponds to the performance materials from the Complete Edition.
For practical use in rehearsal cues and bar numbers throughout.
The publisher has secured the services of renewed musicologists associated with the Richard Wagner Complete Edition who convey detailed information in critical forewords.
The forewords are given in three languages(German, English, French).
Uniform and attractive front cover designs with reproductions of paintings from the Wagner era underline the series design of the edition.
DIE WALKURE
In the tetralogy Der Ring des Nibelungen [The Ring of the Nibelung] which was subtitled by Wagner as A stage festival play for three days and a preliminary evening, Die Walkure [The Valkyrie] forms the first day following Das Rheingold as the preliminary evening. The beginning of the history of the origins of the tetralogy is frequently placed in 1848 when Wagner compiled a prose sketch entitled Die Nibelungensage (Erstschrift) [The Nibelung Saga (first draft)] or Die Sage von den Nibelungen (Reinschrift) [The Saga of the Niblelungs (fair copy)] which would suggest that this was already the text for the Ring des Nibelungen, but the actual concept for the tetralogy did not actually evolve until the autumn of 1851. When Wagner first compiled the libretto for the heroic opera Siegfried's Tod [Siegfried's Death] in November 1848 - during his period of employment as Hofkapellmeister[court music director] in Dresden - he was in fact only planning a single opera and continued to adhere to this concept even after his involvement in the failed Dresden uprising in 1849 and subsequent escape to Switzerland. He began with the composition of Siegfried's Tod in the summer of 1850 in Zurich, but soon laid it aside. He returned to the project almost a year later in May 1851 with the idea of a two-part drama: to lend the plot greater conclusiveness, Siegfried's Tod would be preceded by a second opera entitled Der junge Siegfried [The Young Siegfried], subsequently shortened to Siegfried, but this extension was still insufficient to satisfy Wagner's dramatic-dramaturgic aspirations. In November 1851, he began the first text drafts for Das Rheingold and Die Walkure which were followed by the libretti in 1852: Die Walkure was completed in June 1852.
The premiere of Die Walkure was held in Munich on 26 June 1870, but without Wagner's specific permission as he did not wish the operas to be performed separately. He held the opinion that Die Walkure was only logical and comprehendible within the context of the complete tetralogy. Wagner had however not only made a present of the autograph score to King Ludwig II of Bavaria who had been his generous benefactor since 1864, but had also sold him the rights to the tetralogy. The king was eager to experience performances of the already finished parts and Wagner was therefore powerless to prevent him from commanding performances of the individual operas. The premiere of Die Walkure within the context of the tetralogy took place in 1876 at the first Bayreuth Festival.
(Egon Voss, quoted from the foreword of the new Die Walkure vocal score. translated by Lindsay Chalmers-Gerbracht)
$53.99
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