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Really Easy Piano Charts Hits Autumn - Winter 2015
15.76
Really Easy Piano Charts Hits Autumn - Winter 2015
Piano, Voix
-
Facile
Amsco Wise Publications
Toutes les volumes de la collection 'Really Easy Piano' sont spécialement arran...
(+)
Toutes les volumes de la collection 'Really Easy Piano' sont spécialement arrangés pour les pianistes débutant dans un style facile à jouer, avec également des astuces de jeu pour un execution parfaite.Titres : Bills (LunchMoney Lewis) - Blank Space (Taylor Swift) - Fireproof (One Direction) - Flashlight (Jessie J) - FourFive Seconds (Rihanna, Kanye West and Paul McCartney) - Heartbeat Song (Kelly Clarkson) - Hold Back The River (James Bay) - Hold My Hand (Jess Glynne) - I Really Like You (Carly Rae Jepsen) - King (Years and Years) - Lay Me Down (Sam Smith) - The Nights (Avicii) - Photograph (Ed Sheeran) - See You Again (Wiz Khalifa feat. Charlie Puth) - Ship To Wreck (Florence + The Machine) - Someone New (Hozier) - Stronger (Clean Bandit) / Piano
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Easiest Keyboard Collection : Bumper Chart Hits
25.63
Easiest Keyboard Collection : Bumper Chart Hits
Piano, Voix
Amsco Wise Publications
A collection of 50 of the biggest hits of the 21st century, in easy melody line ...
(+)
A collection of 50 of the biggest hits of the 21st century, in easy melody line arrangements for all electronic keyboards, including 'Jar Of Hearts', 'Someone Like You', 'The A Team' and many more. Ideal for the beginner, each song has chord symbols, lyrics, suggested registration, rhythm and tempo. / Clavier
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Catone In Utica
73.80
Catone In Utica
Piano, Voix
Boosey and Hawkes
The surviving second and third acts of Catone in Utica, one of Metastasio's most...
(+)
The surviving second and third acts of Catone in Utica, one of Metastasio's most dramatic libretti, premiered in Verona in the spring of 1737 in a setting by Vivaldi, contain some of his finest, most mature, and most original arias, and are published here for the first time. They evince a potential dramatic intensity that makes us regret all the more the loss of the first act. Only one aria of Act I can be definitely recovered from a surviving opera, but the rest has now also been successfully reconstructed by Alessandro Ciccolini, whose intimate knowledge of Vivaldi's working methods, combined with brilliant stylistic insight won universal acclaim for his work on Vivaldi's Motezuma and Ercole sul Termodoonte. Ciccolini has also composed cadenzas and da capo variations for all the arias, published here in an appendix.A complete recording under the direction of Alan Curtis is available from Naïve Records(OP30545).Press Quotes:'[For his completion,] Alessandro Ciccolini, who, mindful that Vivaldi frequently adapted vocal music for his instrumental works and vice versa, has composed the missing passages using themes from the concertos as his starting point. His arias dovetail beautifully with Vivaldi's scheme of things...' The Guardian'Ciccolini and Curtis deserve enormous credit for transforming an incomplete obscurity into a coherent and compelling opera.'Gramophone'The opera survives incomplete, but this is a fascinating and apt reconstruction and there is some marvellous stuff here.' BBC Music Magazine / Chant Et Piano
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Catone In Utica
36.86
Catone In Utica
Piano, Voix
Boosey and Hawkes
The surviving second and third acts of Catone in Utica, one of Metastasio's most...
(+)
The surviving second and third acts of Catone in Utica, one of Metastasio's most dramatic libretti, premiered in Verona in the spring of 1737 in a setting by Vivaldi, contain some of his finest, most mature, and most original arias, and are published here for the first time. They evince a potential dramatic intensity that makes us regret all the more the loss of the first act. Only one aria of Act I can be definitely recovered from a surviving opera, but the rest has now also been successfully reconstructed by Alessandro Ciccolini, whose intimate knowledge of Vivaldi's working methods, combined with brilliant stylistic insight won universal acclaim for his work on Vivaldi's Motezuma and Ercole sul Termodoonte. Ciccolini has also composed cadenzas and da capo variations for all the arias, published here in an appendix.A complete recording under the direction of Alan Curtis is available from Naïve Records(OP30545).Press Quotes:'[For his completion,] Alessandro Ciccolini, who, mindful that Vivaldi frequently adapted vocal music for his instrumental works and vice versa, has composed the missing passages using themes from the concertos as his starting point. His arias dovetail beautifully with Vivaldi's scheme of things...' The Guardian'Ciccolini and Curtis deserve enormous credit for transforming an incomplete obscurity into a coherent and compelling opera.'Gramophone'The opera survives incomplete, but this is a fascinating and apt reconstruction and there is some marvellous stuff here.' BBC Music Magazine / Chant Et Piano
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Pavarotti - Music From The Motion Picture (DIVERS AUTEURS / PAVAROTTI LUCIANO)
23.65
Pavarotti - Music From The Motion Picture (DIVERS AUTEURS / PAVAROTTI LUCIANO)
Piano, Voix
[Partition]
-
Intermédiaire
Ricordi
Directed by Ron Howard . Par DIVERS AUTEURS / PAVAROTTI LUCIANO. This collection...
(+)
Directed by Ron Howard . Par DIVERS AUTEURS / PAVAROTTI LUCIANO. This collection contains the pieces performed by the great Italian tenore in the biopic docu-film Pavarotti directed by Ron Howard, come out on June 2019. The tracklist is composed by 23 titles, mostly from the opera repertoire but also from the pop one. This project has been developed in collaboration with Decca Music Group, which has released a CD with the same contents. / Niveau : Intermédiaire / Répertoire / Chant et Piano
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Luciano Pavarotti: Pavarotti - Music From the Motion Picture: Vocal & Piano:
15.99
Luciano Pavarotti: Pavarotti - Music From the Motion Picture: Vocal & Piano:
Piano, Voix
Ricordi
Directed by Ron Howard. This collection contains the pieces performed by the gre...
(+)
Directed by Ron Howard. This collection contains the pieces performed by the great Italian tenore in the biopic docu-film Pavarotti directed by Ron Howard, come out on June 2019. The tracklist is composed by 23 titles, mostly from the opera repertoire but also from the pop one. This project has been developed in collaboration with Decca Music Group, which has released a CD with the same contents.
15.99 GBP - vendu par Musicroom GB
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Vikings
29.03
Vikings
Piano, Voix
[Partition + CD]
-
Facile
Boosey and Hawkes
Lever de rideau sur les Micromusicals de Christopher Norton - comédies musicale...
(+)
Lever de rideau sur les Micromusicals de Christopher Norton - comédies musicales passionnantes et accessibles pour les écoles sur la base de thèmes populaires d'enseignement en salle de classe du créateur de la série de Microjazz de renommée internationale . Conçu pour les enfants de 6-12 ans , chaque production dure environ 30 minutes et peut être appris , répété et réalisé en aussi peu que deux jours .Organiser un véritable acte de classe avec cette ressource complète et flexible :Coulée et direction suggestions succinctesListe des accessoires en option avec une richesse de ressources téléchargeables supplémentairesChansons simples et accrocheuses , avec démonstration et pistes d'accompagnement complètes sur un CD d'accompagnementVoix et partitions pour piano avec cordes de guitareUne large gamme de bande flexible et facile parties orchestrales disponibles pour téléchargement qui peut être joué en liaison avec les pistes d'accompagnement ou comme partie d'une bande orchestre en direct indépendant ouFeuilles de photocopier lyriques ( également disponible en téléchargement pour l'impression ou projection )Vastes enseignement transdisciplinaire et activités en salle de classe suggestionsUne affiche personnalisable pour connaître les performancesLes Vikings sont couverts dans Key Stage 2 Histoire en Angleterre , et sont populaires dans l'enseignement de l'école dans le reste du Royaume-Uni et au-delà .Cette micromusique comprend des sujets tels que :les invasions vikings des îles britanniquesroi AlfredMythologie Nordique ( Valhalla , Asgard , Odin , Thor , Frey , Freya , Tyr , les enfants de Loki , Fenrir )l'effet actuel des Vikings sur la culture britannique / Choeur Mixte (SATB) Et Instruments Divers
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Album - 37 Songs And Piano Pieces (1895-1913) (HERBERT VICTOR)
24.50
Album - 37 Songs And Piano Pieces (1895-1913) (HERBERT VICTOR)
Piano, Voix
[Partition]
Dover Publications
Par HERBERT VICTOR. Né en Irlande et musicalement formé en Allemagne, Victor H...
(+)
Par HERBERT VICTOR. Né en Irlande et musicalement formé en Allemagne, Victor Herbert (1859-1924) était en Amérique du premier grand compositeur pour le théâtre musical. Le créateur de plus de 40 opérettes, Herbert a produit une série d'oeuvres de scène populaires et durables, y compris Babes in Toyland et Naughty Marietta. Ce trésor de favoris mélodieux, repris directement des éditions rares, comprend 37 hits bien-aimés d'opérettes Herbert. Les sélections comprennent rues de New York, Moonbeams, Ah! Sweet Mystery of Life, Tramp! Tramp! Tramp!, Italien, rue Song, Toyland, Gypsy Love Song, et bien d'autres. Egalement présenté quatre pièces pour piano populaires - Mars de l'Jouets, al fresco, Dague de danse, et Badinage - plus quelques rares anciennes couvertures de partitions./ Répertoire / Chant et Piano
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Jakob Lenz (RIHM WOLFGANG)
102.67
Jakob Lenz (RIHM WOLFGANG)
Piano, Voix
Universal Edition
Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera...
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Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano
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Dreigroschenoper (Songs Aus) (L'opéra de quat'sous) (WEILL KURT)
30.60
Dreigroschenoper (Songs Aus) (L'opéra de quat'sous) (WEILL KURT)
Piano, Voix
Universal Edition
Par WEILL KURT. Easy arrangements of 17 songs with vocal line added. The photos ...
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Par WEILL KURT. Easy arrangements of 17 songs with vocal line added. The photos in the album are stills from the famous film of the opera directed by Georg Wilhelm Pabst (1931). / Classique / Répertoire / Chant et Piano
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Songs II GA/CE vol. 11 (SZYMANOWSKI KAROL)
63.30
Songs II GA/CE vol. 11 (SZYMANOWSKI KAROL)
Piano, Voix
[Partition]
PWM (Polskie Wydawnictwo Muzyczne)
Par SZYMANOWSKI KAROL. (VII) The Polish idiom appeared in Szymanowskis music in ...
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Par SZYMANOWSKI KAROL. (VII) The Polish idiom appeared in Szymanowskis music in 1920, foreshadowing the beginning of a new period of creativity, later called nationalistic. Before this idiom was realised and such compositions typical of the Polish style as the ballet Harnasie, the Mazurkas, Stabat Mater, Fourth Symphony and Second Violin Concerto had been written, the change in musical thinking and the first experiments in the new language took place in songs. Symptoms of the new style manifested themselves fully in Slopiewnie, Op. 46 bis, composed in the summer of 1921 and published by Universal Edition. In these bizarre songs to bizarre words by Tuwim Szymanowski attempted to crystallize and generalize artistically some primaeval Polish, racial as he described them elements in music. The inspiring factor was undoubtedly the text by Julian Tuwim, abounding in new-coined words and imbued with its own music. It indicated the direction that artistic creativity was to take, and made the full corellation of the verbal and musical layers possible in, as Mieczyslaw Tomaszewski has stated, all the planse of co-operation phonic, structural, expressional and semantic. Based on A. Neuer Commentary to Complete Edition Volume C11 (VIII) Szymanowski did not yield to the temptation of easy over-stilization. Streching out to the deepest ethnic layers of his native musical culture, he made an attempt to mould and suitably fashion a Polish style of musical utterance. This tendency is apparent in the Three Lullabies, Op. 48, to words by Jaroslaw Iwaszkiewicz, composed in 1922 and published by Universal Edition in 1926. In the Lullabies we can find the confirmation of the fact that utterly new atmosphere which, according to the composer, Slopiewnie had introduced into his music, was not a once-for-all phenomemon. The elements of the new musical language, analised in connection with the earlier cycle, may here be regarded as assimilated. These are modalities in vocal melodies (Lullaby I) and cadences (Lullabies I and III), a bourdon effect with a tritone (Lullaby II). However these sometimes sligh and apparently unimportant details recur constatnly, an so acquire the nature of a definite compositional technique establishing a style based in an increasing degree on nationalistic elements. Based on Adam Neuer Commentary to Complete Edition Volume C11 (IX) The Childrens Rhymes, Op. 49, a cycle of twenty short songs by Kazimiera Illakowicz, composed in 1922-23, were a completely new creative experience for Szymanowski. He composed the Rhymes with his 11-year-old niece in mind. She was the daughter of Stanislawa Korwin-Szymanowska, who performed these songs for the first time in Warsaw on 25 February 1924. / Date parution : 2021-12-09/ Recueil / Chant et Piano
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One Direction: Drag Me Down: Vocal and Piano: Single Sheet
3.99
One Direction: Drag Me Down: Vocal and Piano: Single Sheet
Piano, Voix
[Partition]
Hal Leonard
Digital Audio Backing Track Included!-This sheet music features an arrangement f...
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Digital Audio Backing Track Included!-This sheet music features an arrangement for Piano and Voice with Guitar chord frames with the melody presented in the right hand of the Piano part as well as in the vocal line. This sheet also features online backing tracks that you can stream or download and sound great playing with a band! This sheet also features online backing tracks that you can stream or download and sound great playing with a band!
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Up All Night - Easy Piano
20.70
Up All Night - Easy Piano
Piano, Voix
-
Facile
Hal Leonard
/ Piano
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The Faber Graded Rock And Pop Series Vocals Songbook : Grades 2-3
14.78
The Faber Graded Rock And Pop Series Vocals Songbook : Grades 2-3
Piano, Voix
[Partition + CD]
-
Facile
Faber Music Limited
Grades 2-3. The Faber Graded Rock and Pop Series Vocals Songbook: Grade 2-3 prov...
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Grades 2-3. The Faber Graded Rock and Pop Series Vocals Songbook: Grade 2-3 provides the perfect resource for the budding rock and pop musician. Specially arranged to follow the parameters for Grades 2 and 3 as set out by Trinity for the 'own choice song” option in their Rock and Pop exams, each song also includes handy hints and tips and a fantastic sound-alike backing track suitable for practice, performance and the exams. / Niveau : Facile / Recueil / Chant
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Salieri A. - Prima La Musica E Poi La Parole
43.80
Salieri A. - Prima La Musica E Poi La Parole
Piano, Voix
[Vocal Score]
Barenreiter
Salieri, Antonio Prima la musica e poi le parole Divertimento teatrale in one ac...
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Salieri, Antonio Prima la musica e poi le parole Divertimento teatrale in one act Details Edition no.: BA 8811-90 ISMN: 9790006542826 Editor: Betzwieser, Thomas / La Salvia, Adrian Arranger: Müller, Karl-Heinz / Schellevis, Hans Language(s) of work: German, Italian Language(s) of text: German, English Product format: Piano reduction, Urtext edition Comments: Replaces BA 7698-90 Binding: Paperback Pages / Format: XVI, 199 S. - 27,0 x 19,0 cm A memorable musical competition commissioned by the emperor Joseph II took place on 7 February 1786 as part of a festival in the orangery of the Schönbrunn palace. The Italian court singers and musicians performed Mozart?s Schauspieldirektor whilst Antonio Salieri?s Prima la musica e poi le parole was performed by a German Singspiel ensemble. This charming opera satire belongs to the genre of ?metamelodrama? in which the opera itself becomes the subject of the action. The people who are part of an opera production, for example the writer, composer and prima donna, appear as characters on the stage and are presented in a humorous mirror image. In this ?theatre about theatre? Salieri parodies the music from Giuseppe Sarti?s Giulio Sabino in his insert arias, thus playing on the music which was totally familiar with the audience of that time. By reflecting on the musical-dramatic style of that time and discussing whether ?the word? or ?the music? should take priority, this masterpiece is considered to be a forerunner to Richard Strauss?s Capriccio. This new edition of the score is published as part of OPERA ? Spectrum of European Music Theatre in Separate Editions. There are several alterations regarding the libretto text, stage directions, articulation, ornamentation, etc. which have been incorporated into the newly engraved vocal score. Furthermore, all appendix numbers from the score which concern the quotations from Giuseppe Sarti?s Giulio Sabino have also been incorporated. - Urtext edition based on the historical-critical hybrid edition OPERA-Spectrum of European Music Theatre in Separate Editions edited by Thomas Betzwieser (music edition) and Adrian La Salvia (text edition).- Original Italian libretto with singable German translation- Comprehensive bilingual foreword (Ger/Eng) on the genesis and reception of the work, on metamelodrama and intertextuality- Includes an extensive appendix to the quotations taken from Giuseppe Sarti?s Giulio Sabino- Idiomatic piano reduction
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Joseph Canteloube: Joseph Canteloube: Chants d'Auvergne Vol.1: Voice: Vocal Work
Piano, Voix
Heugel
Compiled by Joseph Canteloube this book is the first set from the series Chant...
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Compiled by Joseph Canteloube this book is the first set from the series Chants D'Auvergne. It features three songs including the most famous one “Báïlèro”. This edition written for Voice and Piano contains lyrics in the local dialect “Occitan” with the French translation below. Some directives are given to obtain the correct pronunciation of the language. I. La Pastoura als camps (La Bergère aux champs) / Shepherdess in the fields II. Báïlèro (Chant de Bergers) / Shepherd’s song III. Trois Bourrées a. L’aïo de rotso(L’eau de source) / Spring Water b. Ound’ onoren gorda ? (Où irons-nous garder ?) / Where will we take the sheep c. Obal din lou Limouzi (Là-bas dans le Limousin) / There in the Limousin Each piece is also commented with the exact location the song is from. Joseph Canteloube (1879-1957) was a French composer musician and author mainly known for his folk songs and for the series 'Songs from the Auvergne' inspired by the area his family was from.
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Tito Manlio, Rv 738
49.29
Tito Manlio, Rv 738
Piano, Voix
Ricordi
Tito Manlio was performed for the fi rst time in Mantua as second work of the Ca...
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Tito Manlio was performed for the fi rst time in Mantua as second work of the Carnival season of winter 1719. Vivaldi set the libretto of La fi da ninfa, a dramma per musica in three acts by Scipione Maffei, with a view to its use for the inauguration of the new theatre of the Accademia Filarmonica of Verona, which took place on 6 January 1732, during the Carnival season, elaborate stage sets being provided by Francesco Bibbiena. The critical edition is based on the collation of the two complete manuscripts of the work kept at the National University Library of Turin: the Vivaldi's autograph and a copy realized by fi ve copyists under the direct control of the composer. / Voix Et Piano
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Patience (GILBERT WILLIAM SCHWENCK / SULLIVAN ARTHUR)
22.70
Patience (GILBERT WILLIAM SCHWENCK / SULLIVAN ARTHUR)
Piano, Voix
[Partition]
Faber Music Limited
Par GILBERT WILLIAM SCHWENCK / SULLIVAN ARTHUR. Gilbert And Sullivan's Patience ...
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Par GILBERT WILLIAM SCHWENCK / SULLIVAN ARTHUR. Gilbert And Sullivan's Patience opened April 23, 1881 at the Opera Comique and ran for 578 performances at both the Opera Comique and Savoy Theatres. Full vocal score with piano accompaniment. / Niveau : Elémentaire / TV, Film, Comédie musicale / Recueil / Chant et Piano
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Pavarotti - Music From The Motion Picture
27.00
Pavarotti - Music From The Motion Picture
Piano, Voix
Ricordi
Ce recueil rassemble les morceaux interprétés par le grand ténor italien dans...
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Ce recueil rassemble les morceaux interprétés par le grand ténor italien dans le documentaire biopic Pavarotti, réalisé par Ron Howard et sorti en juin 2019. La liste des titres contient 23 chansons, provenant pour la plupart du répertoire de l'opéra mais également de la pop. Partenaires de ce projet, Decca Music Group ont également sorti un CD avec les mêmes titres.
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