Puccini's 'La Boheme' is based on Henri Murger's novel 'Scènes de la vie de bohème' which draws it's inspiration from the Bohemian lifestyle which was somewhat in vogue in Paris at the time. This Libretto by Giuseppe Giacosa andLuigi Illica runs as follows:Rodolfo?s neighbour in his garret Mimi knocks at the door saying her candle has gone out on the stairs. Rodolfo and Mimi sit in the dark talking and fall for each other. They go to meetRodolfo?s friends. While there Marcello's former lover Musetta arrives with her new husband Alcindoro but distracting him falls into Marcello's arms. Some time later Mimì pours out her distress to Marcello over Rodolfo'sincessant jealousy Rodolfo is actually concerned about Mimi?s poor health and wants to part with her. On realising this the two decide to stay together until spring Marcello and Musetta meanwhile part when she isunfaithful.Some months later Rodolfo Marcello and friends are amusing themselves in the garret when Musetta bursts in saying Mimi is downstairs and has begged to be taken to her lover to die. She dies almost happily recalling their early love.

Giuseppe Verdi's Il Trovatore was based on a play by Gutierrez adapted by Salvtor Cammerano. Although the critics may complain about its lack of subtlety - it is filled with exactly the kinds of twists and unlikely coincidences that form the modern jokey stereotype of opera - 'Il Trovatore' will always be an audience favorite because of its wealth of great music. Verdi was stirred to the height of his inspiration by this work and from its premiere it was an even greater success than its predecessor 'Rigoletto'. The importance of Verdi's 'Il Trovatore' lies in its music; it displays some of the most ingratiating and beautiful melodies he ever wrote. This edition ofthe Vocal Score is in Italian with an English translation by Natasha McFarren and an essay by E. Irenaeus Stevenson.

Facsimile of the autograph score from the National Archive of the Richard Wagner Foundation Bayreuth. Par WAGNER RICHARD. Knowledge, pity, redemption: Richard Wagner took up these major themes in “Parsifal”, the music drama that he completed 13 months before his death and referred to as his “most conciliatory work”. Already celebrated for its compositional technique and mystical sonorities at the premiere, its world of ideas has stimulated new debates and interpretations over and over again to the present day. Wagner wrote the autograph score almost entirely in violet ink, a colour he preferred to use in the final years of his life. He meticulously planned the layout of the pages and finally gave the autograph to his wife Cosima - it always remained in the family's possession as a guarded treasure. The facsimile edition in high-quality four-colour printing reproduces the extensive score in its original size. Act and bar numbers on every page facilitate its use without diminishing the overall bibliophile appearance. In an accompanying essay (Ger/Eng), Ulrich Konrad elucidates the special features of the work and the manuscript./ Répertoire / Opéra