Andre Bygninger - a Chamber Opera in 2 acts by Andy Pape (2011-2014). Libretto by Rasmus Zwicki. Commissioned and premiered by Den Fynske Opera in April 2015.

The Richard Wagner Complete Edition presents the composer's entire output for the first time in a reliable form. The conductor Michael Balling, in the early years of the 20th century, attempted to make Wagner's work more accessible for research and performance, but the edition only reached 10 volumes - some with grave shortcomings - and was discontinued after Balling's death in 1925. A further attempt at a complete edition by Otto Strobel was abandoned at the preliminary stages.This third attempt at a complete edition will be the first scholarly, critical edition, based on an evaluation of all the accessible source materials and the latest findings of serious Wagner research. As the edition is also intended for practical performance, the musical text has been kept free of philological insertions - these are listed in the appendices of each volume in the Critical Commentary. Numerous, partly unpublished works - some relatively unknown - and variant versions are published here for the first time. The edition presents authentic texts for Wagner specialists and researchers and critically based performing materials. Contrary to widely held opinions, even the well-known works of Wagner are not necessarily available in reliable editions. The genesis, history and performances directed by Wagner himself are extensively documented so as to present as complete an image as possible of Wagner's compositional intentions. / Opéra

'Faust? stands for the composer Gounod himself, who was torn between the expression of excessive sensuality and a deep spirituality which he was searching for in his Catholic faith. As such, in this most important musical setting of Goethe's drama, the work was given a deeply personal interpretation. With a detailed Foreword (Fr/Eng/Ger) this new edition presents the genesis of the work with its various, during Gounod's lifetime, completely sung versions.The main version of our edition was performed at the Paris Opéra on 3 March 1869. However, simple cross references in the score enable a reconstruction of the earlier and later stages of this work for performance. Rounding off this publication is a critical edition of the libretto. All available sources are described and the Critical Commentary provides information about any changes made to the individual numbers.The two earlier Faust versions with spoken dialogue will be included in a separate volume within this series (in preparation, BA 8714). / Opéra

Playing on the Changes features 13 jazz etudes through the various chord qualities found in standards and jazz tunes in all 12 keys. Areas covered include major 7th chords, minor 7th chords, dominant 7th chords (Mixolydian, altered dominant, and half-whole diminished), minor ii (flat-5) chords, tritone substitutions, and a variety of progressions using all of the above. Bob Mintzer has written out etude solos that traverse the changes in a way that familiarizes you with the sound of each harmonic setting. Each etude is modeled after ideas---such as melodic and rhythmic patterns that create continuity---and singable melodies that he recommends using when improvising through the chord changes. Using the TNT 2 software, listen to and analyze the etudes, and by removing Mintzer's saxophone from the mix, you can then practice and play these harmonic exercises on your own with a stellar rhythm section. The amazing TNT 2 software allows you to slow down the tempo, too! / Instruments En Sib

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

Par HINDEMITH PAUL. The opera is set in a variety of locations between the years 1608 and 1630 and throws a spotlight on individual scenes, sometimes presented simultaneously, from the life of the astronomer Johannes Kepler (1571-1630); the opera takes its name from Kepler’s theoretical work ‘Harmonices mundi’. Hindemith utilises substantial historical studies as the basis for his sketches of individuals within Kepler’s circle who each accompany the astronomer’s scientific endeavours with a variety of personal ambitions. The military commander Wallenstein attempts to utilise Kepler’s astrological abilities to realise his own pretensions to power while Kepler’s assistant Ulrich aspires to scientific fame and recognition. Kepler’s mother urges her son to apply his scientific abilities to the services of her black magic and the Lutheran minister Hizler forbids the astronomer to receive communion because Kepler questions the doctrine of Holy Communion in the Lutheran church and expresses sympathy for Calvinist doctrine. The few figures shed in a positive light include Kepler’s wife Susanna who supports her husband’s pursuit of truth and knowledge and the child Susanna who listens to the voices of nature and the moon in her childish naivety, thereby gaining revelatory knowledge. At the end of his life, Kepler takes stock of his situation, succumbs to a state of resignation and considers death as the greatest harmony of all. In his state of agony, music of the spheres can be heard; the constellations appear as allegorical figures in the opera and contradict Kepler’s negative concepts: lying beyond all that can be researched by mankind is a final majestic realm with the powers to ‘permit us to be amalgamated into a gigantic harmony of the spheres.’ / Date parution : 2022-07-20/ Répertoire / Opéra

Standard Version with sung recitatives-Although almost unanimously condemned by contemporary Parisian critics for its overt sexuality and graphic final scene Carmen ultimately reached the public in a way that perhaps no other opera has. Bizet's aim (with Meilhac andHalevy who wrote the libretto) had been to transform the flaccid moralistic bourgeois genre of opéra comique into a more sophisticated type of staged work and he seems to have suceeded in Carmen. Each character has a musicalsignificance and a unique expressive idiom the ultimate example being the dangerous exotic sensual Carmen herself depicted by an exotic and sinewy chromatic motive that also implies the insurmountable power of fate. In aclassic plot device she is contrasted with the 'good girl' of the opera Micaela whose main aria is set in the ternary form of the elevated bel canto French Grand Opera aria to imply her traditionally 'ladylike' retiring nature.Don José's musical styles reflect different levels in his descent from dutiful soldier to the underworld of obsession.This is the Schirmer edition of the Libretto in the original French with an English translation by Ruthand Thomas Martin.

Dramma per musica in thre acts-Tamerlano HWV 18; Dramma per musica in 3 acts Handel began the composition of Tamerlano one of the supreme masterpieces of Baroque opera seria on 3rd July 1724. The libretto was an adaptation by Nicola Haym of Agostino Piovene's Tamerlano Tragedia per musica which had been set to music by Francesco Gasparini and performed in Venice in 1711. When Handel dated the last page of the autograph on 4rd July the work appeared to be complete; but during the three months which passed before the premiere at the King's Theatre in the Haymarket on 31 October so many alterations and revisions were made that a fresh performing-score had to be writtern very late inthe proceedings to replace an earlier one which is now 1ost.There were twelve performances between 31 October 1724 and 8 May 1725. Handel revived the opera only once in 1731 for three performances. For this revival he marked in the performing score a number of cuts in the recitatives which are reproduced in the present edition; there is more recitative in Tamerlano than in any other Handel opera.Urtext of the Halle Handel Edition.Full score (BA4052) and vocal score (BA4052-90) available for sale Performance material (BA4052-72) available for hire

'Das Rheingold' is the first part of Wagner's 'Ring Cycle'.Alberich a gnome of the Nibelung discovers the all-powerful Rhine Gold and fashions a ring out of it knowing that whoever wears it will rule the world but must renounce love. The gods Wotan and his wife Fricka have build a new castle and paid the giants by promising them Fricka's sister Freia who grows the golden apples that give the gods their power. After a struggle she is kidnapped and all the gods begin to age and weaken. To get her back they decide to steal the Ring and bargain with the giants. Meanwhile Alberich has been forcing other to mine gold and Mime makes a helmet the 'Tarnhelm' out ofit thinking this will help him seize the Ring. Alberich steals the Tarnhelm but the gods arrive and trick both it the Ring and his gold out of him taking him prisoner. In a fury he curses the Ring to bring death and envy to all who posess it. The gods use the Ring and helmet to bargain with the giants. They win Freia back and go home to their new castle but as they leave the giant Fafner murders his brother Fasolt to claim the ring continuing its bloody history... This is the Schirmer edition of the Vocal Score with an English translation by Frederick Jameson.

Ce guide inestimable et indispensable au processus d'auditions comprend une liste complète des airs convenables avec des commentaires utiles sur comment elles devraient être effectuées. Chanteurs et pianistes tant en profitera grandement. Dame Anne Evans / Opéra

Per Gli Sponsali Di Teti e Peleo - HWV 73-The main text of this edition of Handel?s wedding serenata ?Parnasso in festa per gli sponsali di Teti e Peleo? (HWV 73) is based on the version used for the work?s first performances in March of 1734. Three appendices retrace the complex history of the work significantly different versions of which were used for revival performances in 1737 1740 and 1741. Included are abandoned and modified parts of the score as well as a documentation of changes made to the characters.Handel composed ?Parnasso in festa? for the wedding of Anne Princess Royal and Prince William of Orange which took place on March 14 1734 in London. As Handel?s contribution to the publicfestivities the serenata was performed the evening before the nuptials at King?s Theatre in the Haymarket. The bridal couple attended the performance.While the Italian text of the serenata was newly set most likely by Giacomo Rossi most of the music was drawn from pieces of Handel?s earlier works among them ?Athalia? from ?Radamisto? (HWV 12a) ?Il trionfo del Tempo e del Disinganno? (HWV 46a) and ?Delirio amoroso? (HWV 99). Newly composed parts are limited to eight vocal pieces the sinfonia at the beginning of part 3 and the beginning of the overture. The available source material reflects the history of the work: There is no autograph composition score while the conducting score reflects a collaboration between Handel and his main copyist John Christopher Smith senior. However composition scores of individual newly composed pieces have been preserved.New edition based on the latest research after thorough examination of all relevant primary and secondary sourcesExtensive editorial Foreword about the work?s conception mythological background transmission reception and a survey of sources (Ger/Eng) with extensive critical report (Eng)Selected musical facsimiles as well as complete facsimile of the printed libretto of 1734Urtext of the Halle Handel EditionFull score (BA10718-01) and vocal score (BA10718-90) available for salePerformance material (BA10718-72) available for hire

The second opera in Richard Wagnerâ??s mighty The Ring cycle Die Walkure remains among the most popular and frequently performed of his works. It is a masterful epic with themes and motifs that combine and interplay to create some of the finest woven musical threads ever. From its gripping opening in which the hero finds himself weaponless in the house of his enemy; to its heartrending finale when a father bids farewell to his favourite daughter generations of listeners have swooned to this story and its majestic fantastical music. This Vocal Score of this Opera with lyrics in German and English features a piano reduction of the orchestral part and isideal for study rehearsal and concert performances.

The final episode of the Ring cycle 'Gotterdammerung' is itself a colossal work - one of the longest evenings of opera in the standard repertory. Musically Wagner has gained such mastery of his music drama and his use of musicalmotives that he treats both with superb freedom - the handling of Leitmotives in this opera can be thought of as one of the most powerful psychological achievements in art. This is the Schirmer edition of the Libretto in theoriginal German with an English translation by Stewart Robb.

With a libretto written by Judith herself based on the cryptic supernatural short story Der blonde Eckbert by Ludwig Tieck. This one act pocket version of the opera makes use of a Chamber group rather than a fullorchestra and omits the chorus.'Eckbert and his wife Berthe live in seclusion in the Harz Moutains. One stormy night Eckbert's friend Walther arrives and to while away the time Berthe tells him her lifestory.Walther mysteriously knows a great deal about Berthe' s early life and Eckbert's suspicions grow eventually leading him to murder Walther during a hunting expediton.Consumed by terror and suspicion Eckbertretreats into seclusion and revisits the fairy-tale scenes of Berthe's childhood accompanied by a magical singing bird. He encounters the old woman who raised Berthe and at last learns the terrible truth about Walther Berthe and himself.'                 - Judith Weir