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Il Teuzzone, RV 736 (ANTONIO VIVALDI)
182.60
Il Teuzzone, RV 736 (ANTONIO VIVALDI)
Voix et Orchestre
[Partition]
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Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano ...
(+)
Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano e inglese). Par ANTONIO VIVALDI. 'With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Foà 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin ? Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed. '/ Répertoire / Chant et Orchestre
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Il Teuzzone RV 736 (VIVALDI ANTONIO)
44.36
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Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte. Par VIVALDI...
(+)
Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte. Par VIVALDI ANTONIO. With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Foà 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin ? Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed./ Répertoire / Chant et Piano
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Antonio Vivaldi: Il Teuzzone RV 736: Orchestra: Score
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Orchestre
[Conducteur]
Ricordi
Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano ...
(+)
Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano e inglese). With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Fo 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed.
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Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte. With Il Teu...
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Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte. With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Foà 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin ? Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed.
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Raccolta Completa - Opera Omnia (VIVALDI ANTONIO)
9843.04
Raccolta Completa - Opera Omnia (VIVALDI ANTONIO)
Opéra Strumentali Di Antonio Vivaldi
Ricordi
Par VIVALDI ANTONIO. / Date parution : 1905-06-09/ Répertoire / Opéra Strumen...
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Par VIVALDI ANTONIO. / Date parution : 1905-06-09/ Répertoire / Opéra Strumentali Di Antonio Vivaldi
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Scipione Affricano (CAVALLI FRANCESCO)
693.68
Scipione Affricano (CAVALLI FRANCESCO)
Opéra
Barenreiter
Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two do...
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Par CAVALLI FRANCESCO. In 1662, Cavalli’s career was at its zenith. The two dozen operas he had written for Venice had helped establish Venice as the world’s first operatic superpower. “Scipione Affricano” (Venice 1664), Cavalli’s first opera after returning from France, was one of his most successful compositions. In a period that valued new works over familiar ones, “Scipione” was one of a handful of operas to live on after its premiere season: it was revived eight times and chosen to inaugurate Rome’s Teatro Tordinona in 1671. Cavalli’s librettist, Nicolò Minato, was inspired by historical accounts of the life of the Roman general Scipio, whose defeat of Carthage in 202 BCE earned him the honorary agnomen “Africanus.” In setting Minato’s libretto, Cavalli drew upon the lyrical gifts that have made operas like “La Calisto” and “Giasone” so popular today. But at the same time “Scipione Affricano” also shows the composer embracing aspects of his two years in France, and responding to musical changes that, in the 1660s, were rapidly altering the face of Italian opera: the growing dominance of arias, a clearer sense of aria organization, and increased interplay between voice and instruments. The first goal of this edition is a practical one: to develop a version of the opera suited to the needs of both professional and student performers. A second goal is to reconstruct the opera’s complete performance history. An amply documented appendix reconstructs earlier versions of 21 arias. Other appendices print the surviving additional music from revivals in Rome and Venice. The edition is framed by a substantial Introduction, covering the drama, the musical style, the composition, premiere, and revivals, and a guide for performance today, plus a detailed “decoding” of the sources. - series Francesco Cavalli – Opere / Date parution : 2022-11-08/ Répertoire / Opéra
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Operaria Sopran 1
36.52
Operaria Sopran 1
Voix Soprano
[Partition + CD]
Breitkopf & Härtel
lyric coloratura. The OperAria repertoire collection for all voice genres that w...
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lyric coloratura. The OperAria repertoire collection for all voice genres that was successfully launched last year has produced lyrical soprano progeny: From Adele to Zerbinetta, from Pamina to Mimi and Ellen Orford - the first two (of altogether four) soprano volumes contain a representative sampling of important arias from the multifaceted lyrical repertoire. Classical audition arias can be found there, just as vocal gems from opera rarities and arias of classical modernity, each one obviously reliably and carefully edited. Accessorizing one's own lyrical voice, the singer will find a wealth of material such as: information on the composer, the librettist, the work, the vocal range, on questions concerning versions and scoring as well as on the storyline, along with instructive tips from a singer's viewpoint provided by experienced voice teachers and a Phonetics Text Assistant on CD-ROM with diverse possibilities of use. OperAria is the ideal vocal coach for all voice types. Edited by Peter Anton Ling, the books address all singers and are conceived above all for training and auditions. In addition, through their careful selection, they offer valuable inspiration for opera recitals. / Date parution : 2019-09-06/ Recueil / Soprano Colorature
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Decouvrir L'Opera Francais: Vocal Album
34.99
Decouvrir L'Opera Francais: Vocal Album
En Français
Opéra
[Livre + CD]
Heugel
Pour Mezzo Soprano Ou Contralto-Born in Laval Françoise Semellaz studied in Le...
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Pour Mezzo Soprano Ou Contralto-Born in Laval Françoise Semellaz studied in Le Mans and Paris before embarking on a successful teaching career. Currently a professor at the Lille Conservatoire she devotes herself to classical singing. As a vocalist herself this compilation of Decouvrir L'Opera Français is well-informed. Containing airs for Mezzo-Sopranos and Contraltos the accompaniment is helpfully recorded on the CD included. Airs include those by Boiëldieu Delibes Gounod Massenet Offenbach Saint-Saëns and Thomas. With a detailed preface and wide selection of Airs Semellaz's Decouvrir L'OperaFrançais is essential to all aspiring advanced Mezzo-Sopranos and Contraltos.
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Operaria Baritone
36.52
Operaria Baritone
Baryton
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Breitkopf & Härtel
Vol. 3: Dramatic. OperAria is the ideal 'vocal coach' for all voice types. Edite...
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Vol. 3: Dramatic. OperAria is the ideal 'vocal coach' for all voice types. Edited by Peter Anton Ling, the books address all singers and are conceived above all for training and auditions. In addition, through their careful selection, they offer valuable inspiration for opera recitals. OperAria offers in every book - a well-founded repertoire collection of common audition arias and rarities, which also include pieces from the 20th century - reliable aria texts in performable versions with revised or newly elaborated piano-vocal scores - meticulous comments on every aria (with contents and an evaluation from the singer's viewpoint) - a CD as 'Text and Phonetics Assistant' with the aria texts as audio file in their original language as well as the aria texts in German and English translation The three books for baritone '1:lyrical,' '2: lyrical-dramatic' and '3: dramatic' are placed at the beginning of the project. Altogether 16 volumes are planned- the first books for soprano are currently being prepared for 2016. 'It is my aim to give students a modern, systematically structured, well-informed vocal coach that meets the demands of present-day stage practice. And, of course, a cohesive repertoire and logical presentation of audition arias for every vocal genre.' (Peter Anton Ling)/ Recueil / Baryton
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Faust (GOUNOD CHARLES)
1651.85
Faust (GOUNOD CHARLES)
Opéra
[Partition]
Barenreiter
Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second...
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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
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Vivaldi A. - Sovvente Il Sole, Andromeda Liberata - Chant-clavier
22.50
Vivaldi A. - Sovvente Il Sole, Andromeda Liberata - Chant-clavier
Les Editions Buissonnieres
Aria pour mezzo (composé à l'origine pour mezzo-castrato) Extrait du pasticci...
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Aria pour mezzo (composé à l'origine pour mezzo-castrato) Extrait du pasticcio Andromeda liberata Format 22,5 x 32 cm, Couverture cartonnée. 20 pages : 1 conducteur clavier (piano), 1 conducteur chant, violon solo. Partition musicale (musical score) : Arrangement pour clavier (piano) Extrait d'Andromeda liberata, l'air Sovvente il sole offre une ligne mélodique magnifique, un dialogue émouvant entre le héros Persée et le violon solo. S'inspirant de la légende grecque d'Andromède, le pasticcio conte le sacrifice d'une princesse d'Ethiopie Andromède, offerte par son peuple au dieu Poséidon, afin d'étancher sa soif de vengeance et qui fut sauvée de justesse par le valeureux Persée. Andromeda Liberata serait un pasticcio, auquel auraient contribué Giovanii Porta, Tomaso Albinoni, et peut-être Niccola Porpora. Le manuscrit, daté de 1726, a été retrouvé en 2002 dans les archives du Conservatorio Benedetto Marcello, à Venise. Seul l'air Sovvente il sole, avec violon obligé, est attribué avec certitude à Antonio Vivaldi. Sovente il sole risplende in cielo, più bello e vago se oscura nube già l'offuscò. E il mar tranquillo quasi senza onda talor si scorge, se ria procella già lo turbò. Souvent le soleil resplendit dans le ciel, plus beau et agréable si un sombre nuage l'a d'abord assombri. Et la mer calme, presque sans vagues, on ne peut l'apercevoir que si une rude tempête l'a d'abord troublée. Cet aria a été enregistré par Philippe Jaroussky et l'ensemble Matheus sur le CD Heros - VIVALDI - opera arias (2006), ainsi que par Nathalie Stutzmann et l'ensemble Orfeo 55, sur le CD Prima dionna (2010).
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Il Tito (Score/Vocal Score): Opera: Score
79.99
Il Tito (Score/Vocal Score): Opera: Score
Opéra
[Partition]
Novello & Co Ltd.
Opera in three acts edited by Alan Curtis. This opera was first performed in Ve...
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Opera in three acts edited by Alan Curtis. This opera was first performed in Venice in 1666. It may with justice be considered to be the finest opera written between Monteverdi's 'Poppea' and the dramatic works of the mature Purcell. Having in 1983 presided over the first modern revival of 'Il Tito' in Innsbruck the city of its original commissioning Alan Curtis has now produced the first complete performing edition to be drawn from available sources.
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Cavalli Francesco - La Calisto - Conducteur
48.50
Cavalli Francesco - La Calisto - Conducteur
Opéra
Barenreiter
Cavalli, Francesco La Calisto Dramma per musica in three acts Urtext from France...
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Cavalli, Francesco La Calisto Dramma per musica in three acts Urtext from Francesco Cavalli - Opere Edition no. TP 891 ISMN 9790006205356 'La Calisto' received its first performance in Venice in 1651 but only really achieved its breakthrough in the 20th century. It is one of Cavalli's most frequently-performed operas today. The reason for this success may have been the late acknowledgement of its masterly dramatic and musical structure. The musical text is not presented in the usual small study score format, but in the vocal score format (19 x 27 cm). This results in an optimal and well-presented layout of the work. The study score is ideal for analysis as well as for rehearsing the vocal parts. - Reduced-size full score based on the first volume of the new Bärenreiter series, 'Francesco Cavalli ' Opere' - Reflects the latest state of research - Foreword (Eng) by the editor - English translation of the libretto included separately (not singable) - Practical for study and rehearsing the vocal parts
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Diction Coach - G. Schirmer Opera Anthology: Tenor: Vocal Album
19.99
Diction Coach - G. Schirmer Opera Anthology: Tenor: Vocal Album
Voix Tenor
[Partition + CD]
Schirmer
Arias for Tenor-Diction lessons on each aria in the series recorded by top langu...
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Arias for Tenor-Diction lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translationsWith these book/CDpackages that match the standard aria collections edited by Robert L. Larsen any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it showing flow of the language and the mood. The second version is a slow deliberate lesson allowing time for the student to repeat each line. These experienced language coachesadapt the ?R? in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations.The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian Pierre Vallet for French Irene Spiegelmanfor German Kathryn LaBouff for English Yveta Synek Graff for Czech and Gina Levinson for Russian. Companion to 50481099 Arias for Tenor.
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The Essential Collection: Opera Gold (Cd Edition)
23.84
The Essential Collection: Opera Gold (Cd Edition)
Piano seul
[Partition + CD]
-
Intermédiaire/avancé
Chester
Capturez la grandeur et la puissance des thèmes Opera meilleurs dans ce jeu sp...
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Capturez la grandeur et la puissance des thèmes Opera meilleurs dans ce jeu spécialement sélectionnés de solos de piano avec CD d'accompagnement. Depuis les premiers travaux de scène dévots de Haendel et Purcell, à travers les productions exotiques et ludiques de Mozart et de Rossini aux innovations spectaculaires et coeur-arrêt de Wagner, Tchaïkovski et au-delà, cet ensemble de mouvements spécialement sélectionnés ont été soigneusement disposés comme des solos de piano. Présentant des spectacles complets de toutes les pièces sur CD, il s'agit d'une collection absolument indispensable pour tout amateur d'opéra, et une excellente source de répertoire pour piano inhabituelle. / Piano
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Opera's Greatest Hits Solo Piano
23.70
Opera's Greatest Hits Solo Piano
Piano seul
[Partition]
-
Intermédiaire
Amsco Wise Publications
Opera's greatest moments are brought to life in this fantastic collection of Pia...
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Opera's greatest moments are brought to life in this fantastic collection of Piano solos, featuring the most memorable, hum-able tunes from the world of opera! Includes the William Tell Overture, The Anvil Chorus, Largo al Factotum, The Ride of the Valkyries , and much more! All songs are arranged for the intermediate pianist. / Piano
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Tenor Vol.1
71.92
Tenor Vol.1
Voix Tenor, Piano
[Partition]
Barenreiter
This volume contains half of the great monologues, arias and ariettas which Rame...
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This volume contains half of the great monologues, arias and ariettas which Rameau composed for 'haute-contre? and which are sung by high tenors today.Arias for haute-contre (tenor) from the operas 'Acanthe et Céphise? (Acanthe) / 'Anacréon? (Batile) / 'Castor et Pollux? (Castor, un Athlète) / 'Daphnis et Eglé? (Daphnis) / 'Dardanus? (Dardanus) / 'Les Fêtes de l'Hymen et de l'Amour? (Osiris, Aruéris, un Egyptien) / 'Les Fêtes de Polymnie? (Alcide) / (Mercure) / 'La Guirlande? (Myrtil) / 'Hippolyte et Aricie? (Un Amour, Hippolyte) / 'Les Indes galantes? (Valère) / 'Naïs? (Neptune). - Detailed historical introduction (Fr/Eng) - Idiomatic piano reduction based on the 'Opera Omnia Rameau? - Each piece is introduced by a précis of the dramatic situation and an English translation of the vocal text - Co-edited by the Centre de musique baroque de Versailles and the Société Jean-Philippe Rameau- Distributed exclusively by Bärenreiter The following volumes will appear within the next few months: BA 9197 Haute-contre (tenor), vol. 2 BA 9191 Dessus (soprano), vol. 1 BA 9198 Basse-taille et Basse (baritone and bass) BA 9192 Dessus (soprano), vol. 2 BA 9193 Dessus (soprano), vol. 3 BA 9194 Dessus (soprano), vol. 4 / Tenor
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Il Coccodrillo (BUCCHI VALENTINO)
36.98
Il Coccodrillo (BUCCHI VALENTINO)
Voix et Piano Réduction
Ricordi
Opera Completa. Par BUCCHI VALENTINO. Opera Completa / Opéra-opérette / Répe...
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Opera Completa. Par BUCCHI VALENTINO. Opera Completa / Opéra-opérette / Répertoire / Voix et Piano Réduction
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Sonate En Do M Op. 40 #1
16.18
Sonate En Do M Op. 40 #1
Violoncelle
Barenreiter
Jean-Baptiste Breval (1753-1823) was a member of the orchestra at the Paris Oper...
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Jean-Baptiste Breval (1753-1823) was a member of the orchestra at the Paris Opera and also a prolific composer. His works include concertos for cello, string quartets, comic operas and a violoncello tutor.However he is best-known for the Sonata in C major which has become a standard work for teaching purposes, even in arrangements for other instruments. The two movements (Allegro and Rondo Grazioso) can also be performed independently from one another. This sonata belongs to the basic repertoire of every young cellist. / Violoncelle Et Piano
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E-Z Play Today 195: Opera Favorites
11.83
E-Z Play Today 195: Opera Favorites
Piano seul
-
Facile
Hal Leonard
EZ Play Today 195: Opera Favoris propose 30 sélections de chefs-d'oeuvre de l'o...
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EZ Play Today 195: Opera Favoris propose 30 sélections de chefs-d'oeuvre de l'opéra, arrangé spécialement pour l'orgue, piano et clavier électronique. Ecrit en grand format note EZ Play Today 195: Opera favoris comprend des pièces de La Bohème, La Traviata, Carmen, La Flûte enchantée et beaucoup plus. Doté d'un système de numéro d'enregistrement innovant, les musiciens sont en mesure de faire correspondre les numéros d'enregistrement sur ??les chansons des catégories numérotés correspondant, leur permettant de sélectionner et d'activer les sons appropriés sur leur instrument. / Piano
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Opera Anthology Coloratura Arias For Soprano
33.60
Opera Anthology Coloratura Arias For Soprano
Voix Soprano, Piano
[Partition]
Hal Leonard
Un excellent volume des airs de colorature a été ajouté à la série d'anthol...
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Un excellent volume des airs de colorature a été ajouté à la série d'anthologie de g. Schirmer Opera. Avec 30 arias en anglais, en italien, en allemand, en français et en russe, il s'agit de la plus grande collection d'extraits lyrique de colorature jamais publié. En raison de la nature du matériau, suggestions de rendement fondée sur la tradition se trouvent libérale dans tout le volume. Par exemple, vous trouverez des variations vocales standards pour le ' chanson de poupée 'dans les contes d'Hoffmann inclus dans l'édition, avec la ligne vocale originale. Comme les autres volumes de la série révolutionnaire, il existe des historiques et intrigue notes sur chaque aria, gravures nouvelles et nouvelles traductions pour étudient. / Chant Et Piano / Partition
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Pietro Mascagni: Cavalleria Rusticana: Opera: Libretto
Opéra
Schirmer
Cavalleria rusticana (Rustic Chivalry) is one of the primary examples of Italian...
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Cavalleria rusticana (Rustic Chivalry) is one of the primary examples of Italian realism. It was both the best and worst thing that happened to Mascagni for its success - never to be repeated - weighed upon the composer all hislife. Based on Vergaâ??s play of the same name the libretto by Targioni-Tozzetti runs as follows: Lola and Turiddu had been lovers but when Turiddu went away to battle Lola married Alfio. When Turiddu returned he and Lolacontinued their affair secretly while he tried to make Lola jealous by starting a casual affair with Santuzza who fell genuinely in love with him. On Easter Sunday Santuzza realising the affair goes to see Turiddu'smother Lucia who keeps a tavern in the village. She is horrified to learn of her sonâ??s infidelity and leaves for the church just missing Turiddu who saunters in thinking of his night with Lola. He is surprised and annoyed tofind Santuzza there and the two begin to quarrel. Lola makes things worse by appearing and taunting Santuzza. Turiddu finally hits Santuzza and escapes.Santuzza tells Alfio of the illicit affair whereupon Alfio flies intoa rage and swears that he will avenge himself the code of honour requires Turiddu's blood to be shed. According to tradition he refuses a glass of wine from Turiddu indicating the dispute and the two make plans to fight.Rushing into the tavern Turiddu bids his mother her to take care of Santuzza. Mamma Lucia is alarmed and as he rushes off Santuzza enters and throws her arms around Lucia's neck just as a woman screams that Turiddu has beenkilled.This is the Schirmer edition of the Libretto in the original Italian with an English translation by Joseph Machlis.
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Richard Wagner: Die Walküre: Opera: Libretto
Opéra
Schirmer
Of the four episodes of the 'Ring Cycle' 'Die Walkure' is most often performed ...
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Of the four episodes of the 'Ring Cycle' 'Die Walkure' is most often performed separately and may be Wagner's best-loved work. The source of this affection is certainly the sensitive depictions of Siegmund and Sieglinde's loveand the father-daughter relationship of Wotan and Brünnhilde.Siegmund stumbles into an unfamiliar house Sieglinde's for shelter and the two fall for each other quickly. However Sieglinde's husband (from a forcedmarriage) Hunding is a kinsman of Siegmund's foes and challenges Siegmund to a duel. Sieglinde gives Hunding a sleeping potion and the two realise they are brother and sister. Siegmund claims Sieglinde as his bride. Watching Wotan and Fricka tell Brünnhilde that she must defend Hunding's marriage rights. Brünnhilde sets out to observe the lovers. When Sieglinde falls asleep Brünnhilde berates Siegmund but when he argues she decides to help him.Hunding and Siegmund battle when Siegmund is about to win however Wotan appears and shatters his sword; he is killed. Brünnhilde escapes with Sieglinde and the broken sword. Wotan fells Hunding with a wave of his handand leaves to punish Brünnhilde. Sieglinde realises she bears Siegmund's child so takes the pieces of the sword and rushes off into the forest to hide. Brünnhilde herself flees to the Valkyries' Rock to hide but Wotan fins herand sentences her to become a mortal woman: she must lie in sleep to be claimed by any man who finds her but behind a wall of fire that only the bravest hero can pierce. This is the Schirmer edition of the Libretto inthe original German with an nglish translation by Stewart Robb.
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Recueil ? Airs d?opéra (VIVALDI ANTONIO) (VIVALDI ANTONIO)
49.50
Recueil ? Airs d?opéra (VIVALDI ANTONIO) (VIVALDI ANTONIO)
En Français
Opéra
Editions Buissonnieres
Par VIVALDI ANTONIO. C'est seulement en 1713 que Vivaldi aborde l'opéra ; certa...
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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
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In Furore Justissimae Irae. Mottetto Per Soprano, 2 Violini, Viola E Basso - Rv 626 (VIVALDI ANTONIO)
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In Furore Justissimae Irae. Mottetto Per Soprano, 2 Violini, Viola E Basso - Rv 626 (VIVALDI ANTONIO)
Opéra
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Edizione Critica A Cura Di Paul Everett. Par VIVALDI ANTONIO. / Répertoire / Ed...
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Edizione Critica A Cura Di Paul Everett. Par VIVALDI ANTONIO. / Répertoire / Edition Critique des oeuvres de Vivaldi (Fac-simil
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