Monteverdi's opera 'L'Orfeo', based on the legend of Thracian singer Orpheus and his love of Eurydice, is a masterpiece of musical declamation and ornamentation. It was first performed during the 1607 carnevale in the 'Palazzo Ducale' in Mantua.When an edition remains true to its sources, this certainly does not mean that it is not also practical to use, as is demonstrated in this Bärenreiter edition of Monteverdi's 'L'Orfeo'. Edited by Rinaldo Alessandrini, the new publication follows the Bärenreiter edition of Monteverdi's 'Il ritorno d'Ulisse in patria'.Two contemporary prints of 'L'Orfeo' from the years 1609 and 1615 have been passed down to us. Four copies of each of these prints still survive today in public libraries. The later print includes many corrections to the earlier edition and was accordingly used as the primary source for this Bärenreiter edition. However, when solving musical problems the editor frequently follows the more coherent style of the earlier print. The numerous interesting variants, not only between the two editions but also amongst the eight surviving copies, are listed in the critical commentary.This edition of 'L'Orfeo' offers in addition to Monteverdi's somewhat sparse original figures also figures added to the bass line by the editor. The continuo player should, however, feel free to follow his own judgment. The notation has been, when necessary, adapted to suit modern practice, for example with regard to the clefs. The sections that were originally written in 'chiavetta' have been transposed a fifth lower. In the appendix these sections also appear in their original notation in facsimile as well as transposed a fourth lower.- Detailed introduction by the editor (Ital/Eng/Ger) on the work's genesis and performance practice- Comprehensive critical commentary (Eng) in the score- Idiomatic piano reductionEdition no.: BA 8793-90ISMN: 9790006533121Composer / Author: Monteverdi, ClaudioTitle: L'Orfeo Favola in musica in one prologue and five actsDetailed instrumentation: Soprano solo (7), Tenor solo (4), Bass solo (3), Mixed choir: SSATTB, Male choir: TTBBB, OrchestraLibrettist: Striggio, Alessandro (junior)Editor: Alessandrini, RinaldoForeword / Introduction: Alessandrini, RinaldoProduct format: Piano reduction, Urtext editionLanguage(s) of work: ItalianLanguage(s) of text: German, Italian, EnglishPublisher: BärenreiterBinding: PaperbackPrint run: 1st printing 2012Pages / Format: XIV, 143 S. - 27,0 x 19,0 cmWeight: 428 g

Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version) Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.) Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique. Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra

Par VIVALDI ANTONIO. C'est seulement en 1713 que Vivaldi aborde l'opéra ; certaines sources parlent de 94 productions, mais seules 50 ont été identifiées. La musique de ces opéras n'ayant pas été imprimée, contrairement aux livrets, il ne reste trace (complète ou partielle) que d'une vingtaine d'opéras. Impresario du Teatro San Angelo de Venise, Vivaldi écrira la majorité de ces opéras pour ce théâtre. Les 30 airs de ce recueil sont proposés en réduction chant-clavier, pour voix de contre-ténor, extraits des opéras : Andromeda Liberata, Ottone in villa, L'Olimpiade, Tietiberga, Tito Manlio, Il Tigrane, Bajazet, Il Giustino, Olando finto pazzo, La Verità in cimento, La Fida nonfa, Orlando Furioso. / Date parution : 2014-07-01/ Recueil / Contre Ténor

Per il musicista contemporaneo.Una volta sentito un motivo riesce a rieseguirlo a memoria, a ideare una melodia e mettere tutto ciò per iscritto senza cambiare nemmeno una nota, oppure suonare subito, senza alcun apparente sfasatura tra il pensiero e l'esecuzione. Nonostante di soi si riferisca a questa abilità in termini di 'dono' -ovvero un qualcosa che è stato conferito ad una persona da una forza esterna- in realtà questa dote si basa su abilità concrete che possono essere apprese attraverso una corretta educazione musicaesto testo, completato da 2 cd allegati, accompagna passo dopo passo proprio nella direzione di un giusto ed efficace percorso didattico attraverso il famoso corso di Ear training del Musician Institute. Grazie a questo metodo si potranno migliorare lmente le proprie abilità musicali. Le analisi e le lezioni comprendono: l Intonazione di base - l Cantare scale maggiori e minori - l Riconoscimento degli intervalli - l Trascrizione di melodie e ritmi - l Riconoscimento di accordi e successioni di / Opéra Théorique/Didactique

Luis Tinoco (Composer) and Stephen Plaice (Libretto) wrote 'Paint Me' and Opera for six singers and Chamber Orchestra.Rui Horta and Joana Carneiro are responsible for the stage direction and the musicaldirection.'My idea in writing Paint Me was to bring together six characters all of whom have a prolific imaginative interior life and to explore what they would make of each other in the confines of a railwaycompartment. The model for my libretto is Geoffrey Chaucer’s The Canterbury Tales. The travellers in Paint Me are also on their way to Canterbury but they are strangers thrown together by the randomness of modern travel. Theirtales are not told publicly but in their own imaginations. Most journeys in the modern age are anonymous and conducted in silence. We have only a visual or perhaps manneristic impression of the people sitting opposite us. Thisintrospection in public opens up a private fantasy space in which our fellow travellers can become the characters in instant psychological dramatisations.I wanted to formalize each character’s fantasy into a full narrative. Theresult is a kind of anthology of operatic short stories surrounded by the framework of an ordinary journey.'     - Stephen Plaice

Ed. critica di Charles S. Brauner - Riduzione per canto e pianoforte-Mosè in Egitto (1818) is the fourth of the nine opere serie that Rossini composed for Naples between 1815 and 1822. As his letters to his mother show Rossini was very proud of this opera considering it an especially fine achievement that might appeal more to posterity than to the audiences of his day. In fact it proved to be one of his most frequently performed opere serie. The present reduction for voice and piano in two volumes derives from the critical edition of the score published by Fondazione Rossini Pesaro in collaboration with Casa Ricordi by Charles S. Brauner: the edition is based mainly on the autograph score now housed in theBibliothèque nationale de France in Paris. This autograph score is complete but it is not completely autograph and many sections have offered some problems for the reconstruction of the text: the recitative in Act I and the Aria Mosè in Act II are not by Rossini the first five recitatives in Act II are not in Rossini’s hand and may or may not be by Rossini also not in Rossini’s hand is the Aria Amaltea although undoubtedly by Rossini because borrowed from his earlier opera Ciro in Babilonia. The Preface and the Critical Commentary offer for the first time some valid tools to reconstruct the entire history of the opera since the first performance in Naples (1818 1819) to the Parisian ones (1822 – 1840). In particular in the appendices are included the original Aria Faraone which composed by Michele Carafa for the first two productions of the opera in Naples in 1818 and 1819 was later replaced by the Aria Faraone Rossini himself composed in 1820 and in Appendix II the new ending of the recitative following Duetto N. 3 which Rossini composed for one of the Parisian performances after 1822. 

Vocal Score for the Opera in Two Acts.Caritas’ is in two acts the first consisting of 12 short scenes the second being a continuous scena.The overall form of the opera retains the architecture of Wesker’s stage play butalters the proportions in order to create a musically dynamic form. While each scene of the first act is centred around a specific pitch the second act is a Passacaglia whose ‘ground’ is a Cantus Firmus each repetition ofwhich begins on a different note from those of its previous statements. These large-scale architectural features are both reflected in and derived from the musical material itself.

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

This short opera (duration of 50 minutes) aptly designed for children to perform with modest resources is a version of the familiar tale though with certain adaptations. Cinderella is an au pair girl who arrives on the scene bytrain and there are three ugly sisters who get their just deserts in marriage to the appalling leaders of the armed forces. Writing for children in the Orkney Islands Davies has also included some local references: these can bechanged to suit other times and places. Musically the piece is a bright sequence of little songs choruses dialogue scenes and dances probably best suited to children between the ages of eight and twelve though the parts of theugly sisters can usefully be taken by boys with broken voices.Text only.Duration c. 50mins.

The Man Who Mistook His Wife For A Hat investigates the world of a person with visual agnosia such people ?see but do not see?. This Chamber Opera by Michael Nyman with libretto by Oliver Sacks ChristopherRawlence and Michael Morris was based on the book of the same title by Oliver Sacks and first performed in London on 27 October 1986.This full score edition contains introductions in English French German and Italian.Scored for Soprano Tenor Baritone Harp Piano 2 Violins Viola and 2 Cellos it has duration 70 minutes. Performance material is available to hire from the publishers.

Comédie (Laxenburg 1765) Gluck Complete Works IV/4. Par GLUCK CHRISTOPH WILLIBALD. The critical edition presents the music to the verse comedy “Soliman second, ou Les Trois Sultanes” by Charles-Simon Favart (1710–1792), which was performed before the Viennese courtly audience in the Schlosstheater Laxenburg by the French troupe of the Burgtheater on 18 May 1765. This is the first time that Gluck’s music to the Favartian comedy has appeared in print. A popular comedy which in particular was known for its exotic colour, “Soliman second” quickly made its mark on many European stages. Through the good offices of the court theatre director Count Durazzo, the libretto made its way to Vienna too. As “Direttore della Musica” at Vienna’s Burgtheater and an accomplished writer of French opéras-comiques, Gluck may have been commissioned to compose the vocal numbers – four solo airs and a duet – which were meant to be performed in the comedy. As far as can be established, Gluck’s involvement in incidental music is an exception in his artistic output. In addition to the detailed introduction to the history of the work, the volume contains the Critical Report providing exhaustive information on the source material, editorial technique and performance practice. The libretto for the premiere performance and illustrative extracts from the sources are reproduced in facsimile./ Répertoire / Opéra