The present reduction derives from the critical edition of the score of La Gloria e Imeneo, published in this catalog. The opera belongs to a group of the so-called 'French serenatas' by Antonio Vivaldi, namely a series of works composed and performed between the mid-1710s and mid- 1720s of the eighteenth century in celebration of important recurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy. This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice, Jacques-Vincent Languet, Count of Gergy, on the occasion of the wedding of Louis XV to the Polish princess Maria Leszczyska, and was performed during a festa that took place in the ambassador's garden on the evening of 12 September 1725. This edition is based on the autograph score held by Biblioteca Nazionale Universitaria of Turin. It includes a brief Introduction and a critical apparatus that records all the variants between the autograph score and the secondary collate sources. / Voix Et Piano

Ricordi, the well-known printer of classical opera, presents the works of the great opera composers in its CRITICAL EDITION · PRACTICAL SERIES. These revised definitive scores are produced by using all the currently available sources ranging from the original autographs to printed editions, in line with strict philological and critical criteria. Each edition has a brief introduction providing the historical context for the opera in question. This series combines the rigour of a critical approach and a practical, easy-to-follow editorial lay-out. The hidden sadness and frustration of living as a moral outcast, the attempt to simulate innocence in frivolous living and the desperate search for relief from pain and anguish, the destruction of all hope in an unrealistic love affair... this is Violetta Valery. Verdi penetrated the tormented sensitivity of her soul as he visualized her in his music, transforming her individual fate into a universal representation of human suffering. His compassion for her, however, met with bigoted censure: the bourgeois public, scandalized by the presence of a kept woman as a character on the stage, gave the opera an icy reception at its premiere in Venice (Teatro La Fenice, 6 March 183). Certainly an inferior cast for the occasion did little to help. Only the following year, when La traviata was revived for another production in Venice (Teatro San Benedetto), did the tale of Violetta manage to overcome this prejudice and win the unconditional esteem it so deserves. / Voix Et Piano

Corp Ronald (Editor). Par CORP RONALD. This volume contains six of the best choruses written for the stage. Taken from the Savoy operas they have been suitably arranged for choral groups of any size. Some of the pieces, originally composed for 'solo voice' ensembles may lend themselves to being sung by a solo voice, however, would be equally affective when sung 'tutti'. The arrangements provide fun and imaginative repertoire for choirs looking for lively and rewarding concert material. / Niveau : Elémentaire / Feuillet / SATB