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Le Nozze Di Teti E Peleo (ROSSINI GIOACHINO)
133.90
Le Nozze Di Teti E Peleo (ROSSINI GIOACHINO)
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Volume 3 - Sez. Seconda - Partitura + Commento Critico / Ed. Critica G.J. Joerg....
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Volume 3 - Sez. Seconda - Partitura + Commento Critico / Ed. Critica G.J. Joerg. Par ROSSINI GIOACHINO. Vol.3 - Sez. Seconda - Partitura + Commento Critico / Ed. Critica G.J. Joerg / Opéra-opérette / Répertoire / Opéra
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Référence unique par son ISBN 73999258707 cette partition musique n'est autre que Operatic Anthology Arias From Operas Vol.5 Bass qui a été composée pour Chant Et Piano. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Hal Leonard. La référence catalogue de cette oeuvre est HL50325870. / Chant Et Piano / 272 pages / Partition
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Référence unique par son ISBN 73999811001 cette partition musique n'est autre que Arias For Baritone Schirmer Opera Anthology qui a été composée pour Voix Et Piano. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Hal Leonard. La référence catalogue de cette oeuvre est HL50481100. / Voix Et Piano / Partition
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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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Composers Specials Series-In a kitchen in Italy in 1862 little Reliana helps her grandmother Rosalie make pasta sauce. As stream swirls magically through the kitchen Rosalie argues with her oldest friend Martina and tells the story of an opera composerthey once both knew.Soon Reliana finds herself transported through time back to a theatre in Rome nearly 50 years earlier. She is invisible to everyone but the composer Signor Rossini. She watches in alarm as one of the singersputs a curse on the production andeverything begins to go wrong. Set in 1816 the year The Barber of Seville had its disastrous premiere Rossinis Ghost is the story of three women who learn that friendship like opera– or a great pasta sauce – requires nurturing patience and time. Formatted with English Spanish and French languages. 52 minutes.
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Sinfonia dall' opera-Parmi les nombreux opéras de Gioacchino Rossini (1792-1868...
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Sinfonia dall' opera-Parmi les nombreux opéras de Gioacchino Rossini (1792-1868) Tancrède (1813) ne paraît que rarement à l?affiche. Pourtant son ouverture ou « sinfonia » comme on l?appelait autrefois remporte toujours les faveurs du public et est régulièrement jouée par de nombreux orchestres. Les ouvertures de Rossini suivent toutes le style brillant de l?ouverture « à l?italienne ». Elles subjuguent par leur originalité et restent un modèle d?élégance instrumentale en dépit du temps qui passe. Comme la plupart des ouvertures de Rossini celle de Tancrède comprend deux parties : la première d?un tempo modéré un Andante la deuxième au tempo plus rapide unAllegro. On y trouve le fameux et immortel « crescendo rossinien » et quelques thèmes mémorables qui transportent le public. Cet arrangement pour Orchestre d?Harmonie reste fidèle à l?esprit de l?œuvre originale une des pages préférées de Gioacchino Rossini.
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Operatic Anthology Arias From Operas Vol.4 Baritone
40.70
Operatic Anthology Arias From Operas Vol.4 Baritone
Voix Baryton
[Partition]
Hal Leonard
Référence unique par son ISBN 73999258608 cette partition musique n'est autre ...
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Référence unique par son ISBN 73999258608 cette partition musique n'est autre que Operatic Anthology Arias From Operas Vol.4 Baritone qui a été composée pour Voix Et Piano. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Hal Leonard. La référence catalogue de cette oeuvre est HL50325860. / Voix Et Piano / 288 pages / Partition
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Operatic Anthology Arias From Operas Vol.2 Mezzo-Soprano And Alto
40.70
Operatic Anthology Arias From Operas Vol.2 Mezzo-Soprano And Alto
Voix Mezzo-Soprano, Piano
[Partition]
Hal Leonard
Référence unique par son ISBN 73999258400 cette partition musique n'est autre ...
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Référence unique par son ISBN 73999258400 cette partition musique n'est autre que Operatic Anthology Arias From Operas Vol.2 Mezzo-Soprano
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Mosè In Egitto 1 - 2 (ROSSINI GIOACHINO)
70.50
Mosè In Egitto 1 - 2 (ROSSINI GIOACHINO)
Voix et Piano Réduction
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Ed. Critica Di Charles S. Brauner - Riduzione Per Canto E Pianoforte. Par ROSSIN...
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Ed. Critica Di Charles S. Brauner - Riduzione Per Canto E Pianoforte. Par ROSSINI GIOACHINO. Reduction for voice and piano based on the critical edition of the orchestral score. In two volumes. Volume 1 contains Act One, with characters, instrumentation, index of pieces, source notes, a preface, and critical notes. Volume 2 contains Act II and Act III. '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 the Bibliothèque 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. ' 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. / Niveau : Intermédiaire / Répertoire / Voix et Piano Réduction
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La Cenerentola (MOLLICONE HENRY / ROSSINI GIOACHINO)
19.90
La Cenerentola (MOLLICONE HENRY / ROSSINI GIOACHINO)
Piano seul
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Intermédiaire/avancé
ECS Publishing
Fantasy for Piano Solo. Par MOLLICONE HENRY / ROSSINI GIOACHINO. Although based ...
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Fantasy for Piano Solo. Par MOLLICONE HENRY / ROSSINI GIOACHINO. Although based on music from Rossini's opera, this piano solo is influenced by other Romantic composers: Chopin, Schumann, Tchaikovsky, and most of all Franz Liszt, whose transcriptions of songs and operas served as an inspiration. Duration: 11:30 / Niveau : Intermédiaire à Avancé / Classique / Répertoire / Piano
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Il Barbiere Di Siviglia (Almaviva O Sia L'Inutile Precauzione) . Hrsg Patricia B. Brauner (Le barbier de Séville) (ROSSINI GIOACHINO)
69.30
Il Barbiere Di Siviglia (Almaviva O Sia L'Inutile Precauzione) . Hrsg Patricia B. Brauner (Le barbier de Séville) (ROSSINI GIOACHINO)
Partition de Poche
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Barenreiter
Par ROSSINI GIOACHINO. This study score is based on the critical edition of “ ...
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Par ROSSINI GIOACHINO. This study score is based on the critical edition of “ The Barber Of Seville ” edited by Patricia B. Brauner and published in 2008 as part of the series “Works of Gioachino Rossini”. But who needs a new critical edition of “ The Barber Of Seville ”? The opera has been performed in theatres throughout the world since 1816 and has never been absent from the repertoire. There are two reasons for a critical new edition: firstly, none of the early editions satisfy modern demands for a scholarly-critical edition. Secondly, there is a wealth of previously unpublished material relating to this opera, of great interest to both scholars andperformers. Thus the famous overture, which Rossini had already used in his earlier opera “Aureliano in Palmira”, differs noticeably from earlier editions in many places. The new edition enables performers to perform the overture either in its original scoring (as in “Aureliano in Palmira”), which includes two Flutes, two Oboes and Timpani, or in the scoring for the subsequent opera “ The Barber Of Seville ” (with just one flute, one oboe and no timpani). A series of appendices contain music and information which have been included in no other edition of the opera to date. - Takes into account all original sources, also including five manuscripts with Rossini’s autograph ornamentation. - Takes into consideration the full extent of Rossini ’s personal notational characteristics. - With a detailed foreword (Eng/Ital)/ Répertoire / Partition de Poche
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Gioachino Rossini: Barbier Von Sevilla Geb.: Opera: Vocal Score
Piano, Voix
[Partition]
Barenreiter
This edition is based on the critical edition of The Barber of Seville edited by...
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This edition is based on the critical edition of The Barber of Seville edited by Patricia B. Brauner and published in 2008 as part of the series Works of Gioachino Rossini. But who needs a new critical edition of The Barber of Seville? The opera has been performed in theatres throughout the world since 1816 and has never been absent from the repertoire. There are two reasons for a critical new edition: firstly none of the early editions satisfy modern demands for a scholarly-critical edition. And secondly there is a wealth of previously unpublished material relating to this opera of great interest to both scholars and performers.Thusthe famous overture which Rossini had already used in his earlier opera Aureliano in Palmira differs noticeably from earlier editions in many places. The new edition enables performers to perform the overture either in its original scoring (as in Aureliano in Palmira) which includes two Flutes two Oboes and Timpani or in the scoring for the subsequent opera The Barber of Seville (with just one Flute one oboe and no Timpani).Urtext edition based on the series Works of Gioachino Rossini.All versions and transpositions are included in the appendix to the study score.Singing English translation in the vocal score.Takes into account all original sources including five manuscripts with Rossini’s autograph ornamentation.Takes into consideration the full extent of Rossini’s personal notational characteristics.Study score contains a detailed foreword (Eng/Ital)Full score (BA10506) critical report (BA10506-40) & study score (TP411) available for sale; performance material (BA10506-72) available for hire.
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Cenerentola (ROSSINI GIOACHINO)
43.40
Cenerentola (ROSSINI GIOACHINO)
Piano, Voix
[Partition]
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Vocal Score. Par ROSSINI GIOACHINO. In the days just before the Christmas of 181...
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Vocal Score. Par ROSSINI GIOACHINO. In the days just before the Christmas of 1816, Rossini was still looking for the subject and the libretto for an opera that he was contractually obliged to stage at the Teatro Valle in Rome in just over a month's time. Jacopo Ferretti proposed a libretto he had himself written based on the famous fairytale by Perrault, Cinderella. Rossini composed the opera in less than a month, completing it on the 24th January 1817, the day before its public debut. Removed from its original fairytale context, Ferretti and Rossini's La Cenerentola is a comedy with some credible situations, where comedy and sentiment come together brilliantly. The opera was a fantastic hit rightfrom the start and is still one of the composer's absolute masterpieces! This is the Vocal Score of Rossini and Ferretti's famous collaboration, La Cenerentola./ Répertoire / Chant et Piano
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Adina (ROSSINI GIOACHINO)
35.30
Adina (ROSSINI GIOACHINO)
Piano, Voix
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Edizione Critica F. Della Seta - Riduzione Per Canto E Pianoforte. Par ROSSINI G...
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Edizione Critica F. Della Seta - Riduzione Per Canto E Pianoforte. Par ROSSINI GIOACHINO. Composed in 1818 on commission from an unknown individual in Lisbon, Adina was left to languish some years until its premiere in 1826, with a single performance in that city remaining virtually the only one on record until the opera's revival in 1963. The present vocal score is based on the critical edition of the orchestral full score prepared by Fabrizio Della Seta and published by the Fondazione Rossini of Pesaro in collaboration with Casa Ricordi. This Edition reconstructs for the first time the structure of the autograph score, which reflects the collective contributions of at least five different hands: having composed only four entirely new numbers and repurposed another three from Sigismondo, Rossini relied upon collaborators and copyists for the remainder of the music. Della Seta's detailed examination of this fundamental document (housed at the Fondazione Rossini) together with an informed assessment of the secondary sources, including a complete manuscript copy (housed at the British Library in London), various manuscript vocal parts with Rossini's autograph interventions (housed in the Royal Conservatory of Brussels), and the first edition of the vocal score published by Ricordi between 1855 and 1859, additionally reveals how the libretto printed in Lisbon for that single historic performance in 1826 differed substantially from the narrative disposition of the autograph score, with ample cuts and modifications (among those the suppression of the Aria Alì and the addition of a Coro). While neither attributable to Rossini himself nor pertaining to his original conceptual design of the opera, this Coro, the music of which survives in the first vocal score, is included as an Appendix to the edition. / Niveau : Intermédiaire / Répertoire / Chant et Piano
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Il Barbiere Di Siviglia (Der Barbier Von Sevilla) . Sinfonia (Ouverture) (Le barbier de Séville) (ROSSINI GIOACHINO)
36.50
Il Barbiere Di Siviglia (Der Barbier Von Sevilla) . Sinfonia (Ouverture) (Le barbier de Séville) (ROSSINI GIOACHINO)
Orchestre
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BARENREITER
Par ROSSINI GIOACHINO. Rossini's popular overture is now available with complete...
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Par ROSSINI GIOACHINO. Rossini's popular overture is now available with complete performance material on sale. It is newly edited based on the forthcoming volume of the 'Works of Gioachino Rossini' (BA10506). This scholarly-critical practical edition contains almost two works in one as Rossini composed this overture firstly for his opera 'Aureliano in Palmira' and then also used it in 'The Barber of Seville'. The two overtures differ simply in their instrumentation. This new edition is an Urtext edition. Free of later additions to the instrumentation and other changes, it reproduces this famous work in the version which Rossini intended. Conductors can nowchoose to perform the overture to 'The Barber of Seville' without the frequently added second flute, second oboe and drums, which were not part of the opera's original instrumentation. First Urtext edition of the popular overture Foreword (Ger/Eng/It) Optimal page-turns in the parts/ Répertoire / Orchestre
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Semiramide
81.30
Semiramide
Piano, Voix
[Reduction]
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Gioachino Rossini chooses Semiramide as the opera subject of the Carnival season...
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Gioachino Rossini chooses Semiramide as the opera subject of the Carnival season 1822-23, the last of his Italian career. The opera - composed on a libretto by Gaetano Rossi - was performed for the first time in Venice, Teatro La Fenice, on February 3rd 1823. The history of this work is characterized right from the first performances by frequent manipulations, cuts and consecutive adjustments because of its monumental structure. This reduction for voice and piano, based on the critical edition of the full score, offers a new point of view of Semiramide through the reconstruction of the main phases of its rich executive history. In addition to the musical texts there are - both in Italian and in English - an historical Introduction (in the first volume) and a Critical Commentary to the musical text (in the second volume). In the three Appendices of the edition are then published the vocal variants recovered from the original parts (some in Rossini's hand), the original version of the conclusion of the Semiramide's Cavatina and a version of the Finale secondo composed by Rossini for the Parisian version of 1825. / Voix Et Piano
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6 Arias From The Barber Of Seville (ROSSINI GIOACCHINO)
26.00
6 Arias From The Barber Of Seville (ROSSINI GIOACCHINO)
2 Flûtes traversières (duo)
Alry Publications
Arrangeur: Jeffrey Beyer. Par ROSSINI GIOACCHINO. These six arias from Gioacchin...
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Arrangeur: Jeffrey Beyer. Par ROSSINI GIOACCHINO. These six arias from Gioacchino Rossini's beloved opera 'The Barber of Seville' were first arranged for two bassoons in the 1820's by French bassoonist François-René Gebauer. During this time, Gebauer was performing with the Paris Opera. He arranged two volumes of these arias, and flutist Jeffrey Beyer has chosen to transpose, adapt and arrange the following selections for C Flute and Alto Flute duet: Ecco, ridente in cielo, Largo al factotum, Una voce poco fa, Dunque io son, Zitti zitti, piano piano, and Di si felice innesto./ Répertoire / 2 Flûtes Traversières
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G. Opera Anthology Arias For Mezzo-soprano Edited Larsen - Mezzo-soprano
28.99
G. Opera Anthology Arias For Mezzo-soprano Edited Larsen - Mezzo-soprano
Voix Mezzo-Soprano, Piano
[Vocal Score]
Schirmer
Description G. Schirmer Opera Anthology - Arias For Mezzo-Soprano Carefully c...
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Description G. Schirmer Opera Anthology - Arias For Mezzo-Soprano Carefully chosen arias to anticipate the needs of singers, teachers and coaches for years to come. Includes historical notes, plot synopses and translations for study. Edited by Robert L. Larsen. Songlist Acerba Volutta (Adriana Lecouvreur) [Cilea, Francesco] Ah, Michele, Don't You Know (The Saint Of Bleecker Street) [Menotti, Gian Carlo] Amour Viens Aider Ma Faiblesse (Samson Et Dalila) [Saint-Saens, Camille] Augusta How Can You Turn Away? (The Ballad Of Baby Doe) [Moore, Douglas] Chacun A Son Gout (Die Fledermaus) [Strauss Ii, Johann] Che Faro Senza Euridice (Orfeo) [Gluck, Christoph Willibald] Cruda Sorte..Gia So Per Pratica (L'italiana In Algeri) [Rossini, Gioacchino] En Vain Pour Eviter (Carmen) [Bizet, Georges] Faites-lui Mes Aveux (Faust) [Gounod, Charles] Il Segreto Per Esser Felici (Lucrezia Borgia) [Donizetti, Gaetano] L'amour Est Un Oiseau Rebelle (Carmen) [Bizet, Georges] Lullaby (The Consul) [Menotti, Gian Carlo] Mon Coeur S'ouvre A Ta Voix (Samson Et Dalila) [Saint-Saens, Camille] Must The Winter Come So Soon? (Vanessa) [Barber, Samuel] Nobles Seigneurs, Salut (Les Hugenots) [Meyerbeer, Giacomo] Non Piu Mesta (La Cenerentola) [Rossini, Gioacchino] Non So Più Cosa Son (Le Nozze Di Figaro) [Mozart, Wolfgang Amadeus] O Mio Fernando (La Favorita) [Donizetti, Gaetano] Pres Des Remparts (Carmen) [Bizet, Georges] Printemps Qui Commence (Samson Et Dalila) [Saint-Saens, Camille] Que Fais-tu, Blanche Tourterelle (Romeo Et Juliette) [Gounod, Charles] Smanie Implacabili (Cosi Fan Tutte) [Mozart, Wolfgang Amadeus] Stride La Vampa (Il Trovatore) [Verdi, Giuseppe] Una Voce Poco Fa (Il Barbiere Di Siviglia) [Rossini, Gioacchino[ Va Laisse Couler Mes Larmes (Werther) [Massenet, Jules] Voce Di Donna (La Gioconda) [Ponchielli, Amilcare] Voi Che Sapete (Le Nozze Di Figaro) [Mozart, Wolfgang Amadeus] Voi Lo Sapete (Cavelleria Rusticana) [Mascagni, Pietro] We Cannot Retrace Our Steps (The Mother Of Us All) [Thomson, Virgil] When I Am Laid In Earth (Dido And Aeneas) [Purcell, Henry]
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Nacqui All'Affanno E Al Pianto (ROSSINI GIOACHINO)
8.70
Nacqui All'Affanno E Al Pianto (ROSSINI GIOACHINO)
Piano, Voix
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Dall'Opera La Cenerentola. Par ROSSINI GIOACHINO. From the opera La Cenerentola,...
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Dall'Opera La Cenerentola. Par ROSSINI GIOACHINO. From the opera La Cenerentola, and written for Contralto voice and Piano. From the opera La Cenerentola, and written for Contralto voice and Piano./ Répertoire / Chant et Piano
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