Barenreiter - Opera

Oper in Funf Akten Version 1756. Par RAMEAU JEAN-PHILIPPE. Richer than ever ? Rameau?s ?Zoroastre? in the version of 1756. Opera in five acts. Rameau?s revised version of his opera ?Zoroastre?, which could be heard and seen between 20 January 1756 and 26 March 1757 at the Académie royale de musique, was favourably received. Also from today?s point of view the work profits dramaturgically from many of the changes and seems altogether richer and more tightly woven than the original of 1749. The subject matter of the libretto, derived from Ancient Persian sources, is timeless: the struggle between good and bad. The good is embodied by the religious reformer Zoroastre, a representative of the supreme light being Orosmade. He is opposed by the ambitious magician Abramane who serves Ariman, the spirit of the dark. The opera includes some of Rameau?s most ecstatic and spiritual musical numbers, such as the episode of sun worship in Act 3 with the sublime ?Hymne à la Lumière?, which, for unknown reasons, was not integrated in the revision of 1756. It is therefore included in Appendix 3 of this Bärenreiter edition. Incidentally, with ?Zoroastre? the prologue, wh ich had been customary since the beginnings of French opera in the 1670s, was abandoned. Instead Rameau was the first to introduce an overture which set the scene for the entire drama and thereby anticipated Gluck?s opera reform by many years. - One of Rameau?s main works for the stage, now available with all its versions - With a straight-forward piano reduction in the vocal score by François Saint-Yves - Available on sale full score (B0A8867-01) and vocal score (BA08867-90) - Performance material available for hire BA08867-72 - Jean-Philippe Rameau - Opera Omnia (OOR) IV/26 / Date parution : 2022-07-30/ Répertoire / Chant et Piano

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

Acte de Ballet. Par RAMEAU JEAN-PHILIPPE. Rameau Io RCT 45 (Vocal Score) In Rameau's operatic oeuvre, 'Io' is certainly the work shrouded in the most mystery: the acte de ballet has survived only in the form of a copy of the score and parts which was made by a collector from the generation after Rameau from the autograph that now is lost. Although the copy seems to have been used, presumably for a trial read-through, the work was apparently never regularly performed during Rameau's lifetime. And for good reason: the work breaks off abruptly at the beginning of the divertissement; neither the librettist nor a plan for a theatre location are known. Because of its incompleteness, 'Io' was long regarded as Rameau's last work, but there is much to suggest that the composition must have been written between 1740 and 1745. The introduction to this edition examines the references regarding the dating as well as various hypotheses about performance possibilities and librettists. The plot revolves around one of those typical mythological flirtations that are inevitably to be expected when Jupiter and a nymph, here Io, are involved. With the appearance of madness, La Folia, the work reaches a dramaturgical climax. However after this, the opera breaks off. In order to make the piece performable, the editors of ?Opera Omnia Rameau? propose an addition to the divertissement as well as an ending borrowed from the ballet bouffon 'Platée' in its 1745 version, which shows numerous parallels to 'Io'. Thus, these additions come as close as possible to Rameau's style of the 1740s while bringing the plot to a conclusion. - Fragmentary work completed with original music by Rameau - Based on the score of ?Opera Omnia Rameau?, Volume V/1 - Particularly suitable for academies and conservatories as few soloists are required and the few choral movements can be sung by soloists / Date parution : 2023-06-01/ Répertoire / Opéra

Opera in three acts. Leos Janácek began composing his seventh opera, ?The Cunning Little Vixen?, based on the popular feuilletons of Rudolf Tesnohlídek, in January 1922. The first copy of the score, since lost, was completed by Václav Sedlácek in October 1923, while the second copy was prepared by Jaroslav Kulhánek in January 1924. The world premiere took place on 6 November 1924 under the direction of Ota Zítek and was conducted by Frantisek Neumann. The vocal score was published in Czech before the event and then again in 1925 along with the German translation by Max Brod, which is something of a separate version of the text in its own right. This volume of the complete edition reprints the critical edition by Jirí Zahrádka, which was published by Universal Edition in 2010. The present edition newly includes transcriptions of the libretto in three languages (Cz/Eng/Ger) and a detailed Critical Report (Eng). The edition draws on all extant sources and ? in consideration of Janácek?s active participation in rehearsals for the premiere production ? integrates both the dynamics of Franti?ek Neumann and the performance markings of Sir Charles Mackerras into the musical text. This is the third opera to be published in the complete edition, following ?Fate? and ?The Makropulos Affair?.

Opera in three acts-Handel???s Agrippina HWV 6 was performed with great success at the 2015 International Handel Festival in G?ttingen (Germany) using the new B?renreiter edition including the performance material and this vocal score.Agrippina is the last opera that Handel completed and premiered in Italy. The excellent libretto is one of the few original opera libretti that he set to music. The plot is tightly constructed the characters sharply etched and equipped with a wide range of human emotions. Agrippina is married to her third husband the Roman emperor Claudius. After he is presumed dead she attempts with deception andintrigue to place her son Nero on the throne.The vocal score includes all the numbers from the appendix of the full score. These were used either during the successful Venetian series of performances in 1709/10 or were deleted or replaced by other numbers versions and variants.Urtext edition based on the Halle Handel EditionPerformance material available for hireHardback full score (BA4092-01) and paperback vocal score (BA4092-90) available for saleVocal scores includes:- A singing translation in German- Extensive bilingual Foreword (Ger/Eng)- Idiomatic uncluttered Piano reduction

Opera in 3 acts; Also available for sale full score (BA4079) and performance material for hire.'Ariodante? was the first work which Handel composed for the Theatre Royal in Covent Garden after his contract with the King?s Theatre Haymarket ran out in mid-1734.?Ariodante? stands out amongst Handel?s opera works by means of its combination of excellent and challenging music coupled with a first-class plot. There is probably no other Handel opera which contains such a wealth of striking and catchy arias as are found in the first act of ? Ariodante ? alone. The three wide-ranging arias composed for thecastrato Carestini are amongst the greatest bravura pieces.The plot is based on an episode in Ariosto?s epic ? Orlando furioso ? (1516). The central event of the drama the trick with which Duke Polinesso convinces his commander Ariodante that Ginevra is unfaithful was also used by Shakespeare in ?Much Ado About Nothing?.The Vocal score is based on Donald Burrows? 2007 Urtext edition in the ?Halle Handel? Edition (Series II/32). It therefore reflects the latest in musicological research. Based on the Urtext of the Halle Handel EditionStraightforward and easy-to-play Piano reductionOriginal Italian text with German singing translation

Divertimento teatrale in one act-Hardback edition of the full score for Antonio Salieri's Prima La Musica E Poi Le Parole.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. A German Singspiel ensemble performed Mozart?s Schauspieldirektor whilst Antonio Salieri?s Prima La Musica E Poi Le Parole was performed by the Italian court singers and musicians.This charming opera satire belongs to the genre of 'metamelodramma' in which the opera itself becomes the subject of the action. The people who are part of an opera production forexample the librettist composer and prima donna appear as characters on the stage and are presented in a humorous self-reflection. 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 the time. By reflecting on the musical-dramatic style of that period and discussing whether the word or the music should take priority this masterpiece is considered to be an early forerunner to Richard Strauss' Capriccio.

Tragédie-opéra Drame héroïque en trois actes-Christoph Willibald Gluck?s most popular opera ?Orphée et Euridice? was performed in 1774 in Paris to sensational success. This new adaption followed the original Viennese version with Italian text that was first performed in 1762 under the direction of the composer in the Burgtheater. For the Paris version Gluck changed the leading part Orpheus from an alto to a tenor role and composed new recitatives.Both versions of Gluck?s reform drama are based on a libretto by Ranieri de? Calzabigi and revolutionised metastasian opera of the 18th century. Solo and choral music instrumental music pantomime and dance are all closely connected; the myth replaces a historical plotsurrounded by intrigue; where there would have been a da-capo aria there are now simple song forms and coloratura is largely abandoned. These meticulously revised vocal scores of both versions are also newly set.Urtext editions based on ?Gluck The Complete Works?Revised and newly setThe revised editions are compatible with the old editionsT48Full score (BA2282-01) and vocal score (BA2282-90) available for salePerformance material (BA2282-72) available for hire

Opera in tre atti-Antonio Salvi’s “Arminio” is one of the best-loved operatic librettos of the Baroque period.Against the historical background of the so-called “Battle of the Teutoburg Forest” in 9 AD in which the Cherusci leader Arminius as “Liberator of Germany” (Tacitus) inflicted a devastating defeat on the Romans Handel’s opera first performed in 1737 is about the disputes between the Chatti and the Cherusci. Arminius has married the daughter of his arch-enemy Segestes. When he is imprisoned Segestes who has conspired with the Romans sees his opportunity for revenge.- Urtextedition based on the “Halle Handel Edition”- Libretto in Italian with singable German translation- Comprehensive foreword (Ger/Eng) with important information on the history of the libretto as well as on the genesis and the performance history of the work. A detailed resume of the plot is also contained.- Extensive appendix with richly ornamented versions of two arias- Idiomatic piano reduction in the vocal score- Full score (BA4100) and vocal score (BA4100-90) available for sale- Performance material (BA4100-72) for hire

Operas in three acts Version of the premiere, London 1737. Par HAENDEL GEORG FRIEDRICH. “Charming Berenice” – the Earl of Shaftesbury attended a rehearsal of the opera on 12 May 1737 and went into raptures about this “inexpressible delight”. “Berenice” was premiered at Covent Garden Theatre in London just a few days later on 18 May 1737. “Berenice” is one of the “light” operas and offers a wealth of musical gems, the second movement of the overture having become famous as “The Minuet from Berenice”, for instance, as has Berenice’s extended aria in the third act, in which she reflects on the inconstancy of the god Amor in duet with the solo oboist. The musical imagery which Handel worked into the opera is likewise enchanting, such as the imitation of bees humming in Fabio’s “Vedi l’ape” and the sorrowful cooing of a dove in Selene’s “Tortorella che rimira”. The scholarly-critical new edition contains the musical text of the first performance together with pieces in the appendix which Handel excised or shortened in preparation for the premiere. As is customary with our editions, a preface provides a detailed introduction to the genesis of the work, the story’s historical context, the source material and reception. Furthermore, the edition includes a translation of the libretto and an exhaustive Critical Report./ Répertoire / Opéra

Romantische Opera in three acts. Par BERWALD FRANZ ADOLF. Romantische Opera In Three Acts/ Répertoire / Opéra

As with many other libretti by Pietro Metastasio ?Ezio? was also set to music several times besides Handel by Nicola Porpora in 1728 and Christoph Willibald Gluck in 1750. As the historical events from late antiquity surrounding the Western Roman General Aëtius who had defeated the Huns under Attila on the Catalaunian Fields had largely fallen into oblivion by the 18th century they merely form a backdrop to the highly-dramatic ?Sex and Crime? on the operatic stage. In contrast with the original Roman story ?Ezio? remains alive at the ?happy ending? and the enthusiastic public experienced this version for the first timeon 15 January 1732 in London.However despite this the opera only received five performances during Handel?s lifetime. Handel took the overture from his incomplete opera ?Titus l?Empereur?.Performance material available for hire.Vocal score based on the Halle Handel Edition.Original Italian text with German singing translation underlaid.Figured bass realisation and editorial additions in cue-sized notes.Detailed foreword (Ger/Eng)

Janácek, Leos Fate Three Novel-like Scenes Details Edition no.: BA 9562-90 ISMN: 9790260107045 Editor: Zahrádka, Jirí Arranger: Baumann, Rasmus Language(s) of work: Czech, German Language(s) of text: Czech, German, English Product format: Piano reduction, Urtext edition Binding: Paperback Pages / Format: XXXVII, 237 S. - 27,0 x 19,0 cm Janácek’s opera “Osud” is an extraordinary example of the creative boldness of the composer and presents demanding dramaturgical challenges. This new critical edition is based on a thorough comparison of all surviving sources. The principle source is a copyist’s copy of authorised by Janácek in which all revisions are marked. Further sources include a manuscript copy of the vocal score together with the orchestral parts and various copies of the libretto. The score of this new edition will be published as part of the “Complete Critical Edition of the Works of Leoš Janácek”. • First critical edition of this opera • Foreword on the genesis of the work and its reception by Jirí Zahrádka (Cz/Eng/Ger) • New idiomatic piano reduction by Rasmus Baumann • Singable German translation