SKU: HL.49005880
ISBN 9790001063579. UPC: 073999569933. 8.25x11.75x0.063 inches. French.
Male chorus parts.
SKU: HL.49005879
ISBN 9790001063562. UPC: 073999569773. 8.25x11.75x0.066 inches. French.
Female chorus parts.
SKU: HL.49005878
ISBN 9790001063555. UPC: 073999346923. 9.25x12.0x0.145 inches. French.
French score.
SKU: BA.BA07569
ISBN 9790006523375. 32.9 x 23.9 cm inches. Text Language: French/German. Preface: Soury, Thomas. Louis de Cahusac.
Rameau's “Les Fêtes de l'Hymen et de l'Amour†was long considered second-rate because its première was associated with a political event. Yet this ballet abounds in novel dramaturgical effects that foreshadow his later operas, such as “Zaïsâ€, “Zoroastre†and “Les Boradesâ€. Working together with his librettist Cahusac, Rameau sought to weave the dance numbers, choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work, the most famous being unquestionably the scene in which the Nile overflows its banks (an impressive ten-voice double chorus with solo voices and orchestra) and the sextet from “Arurisâ€, a scoring found nowhere else in his uvre.For the first time, this scholarly-critical edition of “Les Fêtes de l'Hymen et de l'Amour†presents a reference version of the work that is based on all the major sources for both the libretto and the music, including two recent musical discoveries. As most of the performance material for the première has vanished, our edition is based on the version prepared for the Acadmie Royale de Musique in 1748.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BR.DV-6081
ISBN 9790200460032. 9.5 x 12 inches.
Duration: full eveningTranslation: German (W. Ebermann/M. Koerth), Engl. (D. Llyod-Jones), French (M. Delines) Place and time: Partly on the estate, partly in Petersburg, in 20ies of the 19th CenturyCharacters: Larina, Owner of the Estate (mezzo-soprano) - Tatiana (soprano) and Olga (alto), her Daughters - Filipjewna, Wet Nurse (mezzo-soprano/alto) - Eugen Onegin (baritone) - Lenskij (tenor) - Prince Gremin (bass) - A Commander (bass) - Saretzkij (bass) - Triquet, a French Man (tenor) - Guillot, a Valet (silent part) - Country Folk, Ball Guests, Squire, Officers (chorus) - Waltz, mazurka, polonaise and Russian dance (Ballet )There is an interesting parallel between the subject of the opera and Tchaikovsky's life during the year he wrote the work (1877): in each case, a letter provokes fateful developments in the lives of the protagonists. In the opera, Tatyana's love letter to Eugene sets off the tragedy, whereas in real life, the love letter of a pupil led the composer into a marriage, which lasted all of ... three months. Tchaikovsky took this doomed decision without love, solely because the circumstances want it and because I cannot act differently. Certain allusions made, for example, in a letter of January 1878 to Taneyev suggest that the composer's personal situation also flowed into the work: I did not want anything to do with the so-called 'grand opera.' I am looking for an intimate but powerful drama which is built on the conflict of circumstances which I myself have seen and experienced, a conflict which truly moves me. Partly for this reason the composer decided to call the work not an opera but lyrical scenes.Eugene Onegin, conceived by Tchaikovsky for limited resources and a small stage, is the most frequently performed Russian opera today along with Mussorgsky's Boris Godunov, which represents a completely contrary aesthetic stance. Tschaikowskys letzte Oper - auf ein Libretto seines Bruders Modest nach der Dramenvorlage des danischen Schriftstellers Henrik Hertz - lebt von den poetischen Momenten und den symbolbeladenen Charakterportrats der Hauptfiguren: Die junge blinde Jolanthe wird von ihrem Vater aus Sorge um ihren Makel und zum Schutz ihrer Jungfraulichkeit und vor den Widrigkeiten der Welt in einen paradiesischen Garten gesperrt. Er befielt zu ihrem Schutz sie um ihre Blindheit unwissend zu lassen. Ein Arzt warnt sehen werde sie nur konnen wenn sie es selbst wolle gleich welche Angste aus der vollstandigen Erkenntnis der Welt erwachsen. Als der junge Vaudemont in ihre Abgeschiedenheit einbricht und sich beide ineinander verlieben befreit er sie von ihrer Unwissenheit erklart was Farbe und Licht bedeuten. Erst die Liebe zu ihm macht sie sehend. Die dunkle Welt der Jolanthe zeichnet Tschaikowsky zu Beginn musikalisch durch eine Introduktion ausschliesslich fur Blaser. Erst mit dem Eintritt in die unbekannte Welt der Liebe und des Sehens verwendet Tschaikowsky einen warmen Streicherklang. Gerade dadurch stiess die Oper wohl bei Zeitgenossen auf Verstorung. Tschaikowskys ,,Jolanthe nimmt in seinem Opernschaffen eine Sonderstellung ein: neben dem glucklichen Ende einer Apotheose des Lichts und der Liebe mit einem religios gepragten Schlusschoral ist es eines der wenigen Buhnenwerke Tschaikowskys ohne Bezug zur russischen Geschichte. Der ausgepragte Lyrismus des Werks verweist stattdessen auf Tschaikowskys Nahe zur franzosischen Kultur die im 19. Jahrhundert einen starken Einfluss auf Russland hatte. Die Oper wurde 1892 am Mariinsky-Theater in Sankt Petersburg als Auftragswerk zusammen mit seinem Ballett ,,Der Nussknacker uraufgefuhrt.Neben der Produktion des Munchner Rundfunkorchesters wurde ,,Jolanthe szenisch erfolgreich bei den Festspielen Baden-Baden mit Anna Netrebko und Piotr Beczala als Liebespaar rehabilitiert. Ausserhalb Deutschlands lief die Opernraritat in Toulouse Tokyo San Sebastian und Monte Carlo. Zuletzt erneut die ,,Suddeutsche Zeitung: ,,Jolanthe ist eine Opernausgrabung die ,,wirklich zu Unrecht vergessen ist. Tchaikovsky's last opera - on a libretto by the composer's brother Modest based on the drama by the Danish author Henrik Hertz - derives its life-blood from its poetic moments and the symbol-laden portraits of the leading characters: the blind young Yolanta is kept prisoner in a paradisiacal garden by her father who fears for her purity and her virginity and seeks to protect her from the adversities of the world. To do so he orders everyone to keep her ignorant of the fact that she is blind. A doctor warns that she will only be able to see when she is ready to do so herself no matter what fears might result from a complete experience of the world. When the young Vaudemont breaks into her secluded world and the two fall in love he frees her from her ignorance and explains the significance of color and light. It is through her love for him that she is finally able to see. At the beginning of the work Tchaikovsky depicts Yolanta's dark world with an introduction scored exclusively for winds. It is not until her discovery of the unknown world of love and sight that Tchaikovsky uses a warm string sound. This is what many of the composer's contemporaries found disturbing about the opera.Tchaikovsky's Yolanta occupies a special place in the composer's operatic oeuvre: for one it has a happy ending an apotheosis of light and love with a religiously stamped closing chorale; for another it is one of Tchaikovsky's few stage works without any reference to Russian history. Instead the work's pronounced lyricism points to the composer's closeness to French culture. which exerted a strong influence on Russia in the 19th century.The opera was given its world premiere at the Mariinsky Theater in St. Petersburg in 1892. It had been commissioned along with the ballet The Nutcracker. Next to the production by the Munchner Rundfunkorchester Yolanta was also successfully rehabilitated in a recent staged production at the Baden-Baden Festival with Anna Netrebko and Piotr Beczala as the lovers. Outside of Germany the operatic rarity was performed in Toulouse Tokyo San Sebastian and Monte Carlo.In closing another quote from the Suddeutsche Zeitung: 'Yolanta' is an operatic rediscovery of a work that was truly 'wrongly forgotten'.
SKU: BA.BA08858
ISBN 9790006523368. 33.5 x 25.5 cm inches. Text Language: French. Preface: Sylvie Bouissou. Louis de Cahusac.
SKU: BR.EB-9422
ISBN 9790004188996. 9 x 12 inches.
Daphnis et Chloe is certainly not only one of Ravel's best works, but also one of French music's most beautiful creations, thus, Stravinsky's view of this ballet in his memoirs, published in 1935. Today the work is a monument to the art of Impressionist orchestration, incorporating the narration within the sound material. Each instrument is treated in the most effective way possible. Remarkable are the strings' extreme divisi, their harmonics' glissandi, and other enigmatic effects, such as utilizing a wordless chorus. Individual performances without choir likely go back to a makeshift arrangement that Ravel produced to facilitate performance at less prominent venues. But it is precisely the use of the choir that contributes to the magic of Ravel's music language.Retained for the new edition has been the original piano reduction by Ravel. The numerous changes in notes, harmony, and dynamics discovered in comparing the piano and orchestral versions are remarkable; the most important differences from the orchestral version are noted in the critical report of the conductor's score PB 5650.The Ravel specialist Jean-Francois Monnard has also edited this ballet with detailed attention to the customary Urtext standard. The preface includes numerous references to both genesis and performance history as well as interpretation, correcting also many previously handed-down errors. The large format of the piano reduction as well as the clarity and transparency of the modern notation aids in rehearsing the choir and ballet.
SKU: BA.BA08870-01
ISBN 9790006567546. 33.5 x 25.5 cm inches. Text Language: French. Preface: Sylvie Bouissou. Text: Duplat de Monticourt, Pierre-Jacques.
Les Paladinswas Rameau's last work premiered at the Academie royale de musique in 1760. Sharply criticized on account of its overtly comical libretto, the work was withdrawn after fifteen performances and was thus one of the most stinging failures in the composer's career. Seen from today's perspective, the public reception is hardly comprehensible for such an inventive work. Radically rejuvenating his writing, Rameau displays a youthful, playful personality, miles away from the critics reproaching him for being nothing but an old man in his dotage. One ban barely imagine such a work coming from the pen of a septuagenarian!Rameau did not prepare the work for publication, and theOEuvres completesunder Camille Saint-Saens's general editorship did not include the work in the collection issued by Durand. The present volume ofOpera omnia Rameauis thus the first edition of Les Paladins.
SKU: BT.ALHE33396
French.
Cendrillon (Cinderella), with a libretto by Henri Cain based on Perrault's fairytale, premiered in 1899 in Paris. Best known for composing over thirty operas, the composer, Jules Massenet (1842-1912) purposely did not attend thepremiere, but received a telegram the following day from baritone Fugère recording its triumph. Incorporating the composer's sense of humour and wit, the use of recurrent motifs is subtle and often thought to be inspired byRichard Wagner. Cendrillon contains musical echoes of the 18th century, incorporating gallant music, the use of the Lute and Viola D'Amore and a series of Ballet entrées. The Opera is in four acts with 19 characters and a chorus.The role of Prince Charming is a breeches role whilst the melody lines of the Fairy Godmother are characterised by trills and arpeggios. Massenet's Cendrillon remains popular to this day and was notably performed at the RoyalOpera House in 2011.
SKU: BA.BA08857
ISBN 9790006558209. 33.5 x 25.7 cm inches. Text Language: French. Preface: Sylvie Bouissou. Louis de Cahusac.
The opera “Naïs†was premiered on 22 April 1749 at the Acadmie royale in the Palais-Royal, Paris, in celebration of the signing of the so-called Treaty of Aachen. It was revived again in August 1764 shortly before Rameau’s death and achieved great success as the “opera of peace,†even though it did not appear in print during the composer’s lifetime.In numerous arias Rameau provides his singers ample opportunity to shine, while he reveals his orchestral mastery, in particular in the chaconne and the various other ballets.The work appears here for the first time in a vocal score with a keyboard reduction. The reduction is by François Saint-Yves on the basis of the new critical edition by Pascal Dencheau which is part of Opera Omnia Rameau edited by Sylvie Bouissou.This edition is the result of a meticulous comparison of all known musical sources. In the main section, it presents the version that Rameau approved for the performances of 1749. The appendix contains those passages that the composer cut during the rehearsals in 1749 and all changes that he undertook for the 1764 revival.
