Numerous revisions and adaptations are entangled in the complex history of the work 'Tannhäuser'. After the world premiere in Dresden in 1845 had failed to be well received by the audience Wagner revised large parts of the opera several times in the following decades. The most comprehensive changes were made for the Paris performance in March 1861 but even after that he made further revisions which superseded some of the previous changes and were performed in Vienna in 1875 among others.The study score is based on the version of 1875 which has misleadingly been published as the 'Paris version' until today and has actually to be referred to as 'Viennese version'. Themusical text is identical to that of the critical edition within the Wagner Complete Edition with the errata discovered since then having been corrected.

Having a rather idealistic view of England and the English people King Paramount of the south sea island of Utopia decides that his people should adopt all English customs and fashions and that the kingdom should become a company limited.Utopia Limited or The Flowers Of Progress is a Savoy Opera with music by Arthur Sullivan and Libretto by W.S. Gilbert. It was the second-to-last of Gilbert and Sullivan's fourteen collaborations premiering on October 7 1893 for a run of 245 performances.Available here is the vocal score of the Opera.

Edition no.: BVK 2270 ISBN: 9783761822708 Volume / Series: Documenta musicologica II/45 / Bärenreiter Facsimile Editor: Konrad, Ulrich Language(s) of work: English, German Product format: Facsimile Binding: Half-leather binding Pages / Format: 405 S. - 41,7 x 30,0 cm “This Tristan will be something formidable! This last act!” “I fear the opera will be banned – if the whole work is not parodied through bad performance: only mediocre performances can save me! Thoroughly good ones will surely drive people crazy.” Richard Wagner While working on the score to “Tristan und Isolde”, Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the “dawn” of the modern era and to this day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even handwriting. He constantly strove to produce manuscripts of a high calligraphic standard. The Tristan manuscript is also clearly written. More so than in his other scores however, traces of his working process are evident. It is precisely this aspect of the autograph that makes it fascinating. Reading it, one is witness to Wagner’s highlyconcentrated, powerful and relentless writing. This manuscript is in every possible way unparalleled reflecting individuality and uniqueness. In time for the 200th anniversary of Wagner’s birth in 2013, this great work will be published as a BÄRENREITER FACSIMILE in cooperation with the National Archive of the Richard-Wagner-Stiftung Bayreuth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composing and later used for sketches. Ulrich Konrad, the renowned musicologist describes the genesis and performance history of the work in his comprehensive commentary. He also details the physical appearance and condition of the autograph as well as giving an insight into the musical language of Wagner.

The latest addition to the Novello Handel Edition. A stage work of 1745 based on John Milton's classical masque Comus created from a compilation of songs by Handel and Thomas Arne both pre-existing and original with the text adapted by John Dalton. This is the first ever complete publication of the work and is edited by Handel scholar Colin Timms. This work is for three or four Sopranos Mezzo-Soprano Tenor one or two Bass Soli and Orchestra. This edition is an 'important new contribution to scholarship with Colin Timms continuing the work of Anthony Hicks in putting together an edition of work from various sources'. There are 'somefine movements to be found by both composers not least the three airs and trio that Handel provided specially for performance in Exton Hall Rutland in 1745'. Choir & Organ  November/December 2017 'Potential performers will appreciatre the excellent editorial preface. The print of this vocal score with piano reduction though small is very clear and well laid-out and orchestral parts including a fully realised continuo part are available from Novello.' Organists’ Review December 2017

Janácek, Leos Fate Three Novel-like Scenes Details Edition no.: BA 9562-90 ISMN: 9790260107045 Editor: Zahrádka, Jirí Arranger: Baumann, Rasmus Language(s) of work: Czech, German Language(s) of text: Czech, German, English Product format: Piano reduction, Urtext edition Binding: Paperback Pages / Format: XXXVII, 237 S. - 27,0 x 19,0 cm Janácek’s opera “Osud” is an extraordinary example of the creative boldness of the composer and presents demanding dramaturgical challenges. This new critical edition is based on a thorough comparison of all surviving sources. The principle source is a copyist’s copy of authorised by Janácek in which all revisions are marked. Further sources include a manuscript copy of the vocal score together with the orchestral parts and various copies of the libretto. The score of this new edition will be published as part of the “Complete Critical Edition of the Works of Leoš Janácek”. • First critical edition of this opera • Foreword on the genesis of the work and its reception by Jirí Zahrádka (Cz/Eng/Ger) • New idiomatic piano reduction by Rasmus Baumann • Singable German translation

Lucio Silla K. 135Dramma per musica in three actsOn 13 December 1769 Leopold Mozart and his son Wolfgang set out on their first tour of Italy. It was not until 28 March 1771 that they finally returned to Salzburg. The trip brought the young composer two commissions for opere serie. In March 1770 he was commissioned to write Mitridate K.87 (74a) for the 1770–71 Carneval season at the Regio Ducal Teatro in Milan. Mozart started work on the opera in Bologna on 29 September 1770 and the première duly took place on the Feast of St. Stephen (26 December) in 1770. The second Lucio Silla (K. 135) again commissioned for the 1771–72 Carneval season inMilan doubtless resulted from the success of Mitridate. News of the commission reached the Mozarts in March 1771 in Verona where they had stopped on their return to Salzburg. (At roughly the same time Wolfgang received an invitation from Vienna to supply a serenata teatrale for the wedding of Archduke Ferdinand the third son of Maria Theresia scheduled to take place in Milan in October 1771. This invitation ultimately resulted in Ascanio in Alba K. 111.)- Urtext of the New Mozart Edition- Full score (BA4590-01) and vocal score (BA4590-90) available for sale- Performance material (BA4590-72) available for hire

An opera by John Tavener and Gerard McLarnon based on the Dostoyevsky short story. Commissioned by the Bath Festival for the Nash Ensemble and premiered at the Theatre Royal Bath in June 1977.Duration c. 45mins. Large (A3)score.

Opera buffa in vier Akten - ??bersetzung von Brieger/Layer-Premi?red at the Vienna Hoftheater on 1 May 1786 Wolfang Amadeus Mozart???s and Lorenzo Da Ponte???s Le nozze di Figaro may be safely regarded as one of the greatest operatic successes of all times. Yet its success was not entirely due to Mozart???s music: on the contrary because of the extraordinary demands it placed on the orchestra (especially the woodwinds) the music even posed an obstacle to the work???s spread outside the German-speaking countries. At least equally responsible for the opera???s success was the librettist Lorenzo Da Ponte who managed to transform a topical and socio-critical stage play into an opera libretto as effective as it isamusing.Many of the sources for Mozart???s first opera from the Lorenzo Da Ponte trilogy only became available to scholars again after the ???New Mozart Edition??? volume was published. These include the autograph scores of acts 3 and 4 now held at the Biblioteka Jagiello ka in Krak?w significant portions of the original sets of parts and acts 2 to 4 of the conductor???s copy from the first performance of 1786.These original sources now available again offer compelling solutions to several previously unresolved questions.Edition based on the Urtext of the ???New Mozart Edition??? reflecting the latest musicological researchWith findings from original sources now available againDetailed foreword (Ger/Eng)Full score (BA4565-01) Vocal score (BA4565-92) study score format 22.5 x 16.5cm and Facsimile (BVK1882) available for saleV43 Performance material (BA4565-72) available to hire

D'Apres Claudio Monteverdi. Par BATTISTELLI GIORGIO. D'Apres Claudio Monteverdi / Musique contemporaine / Date parution : 1905-06-28/ Répertoire / Opéra