La plupart des arias de cette collection font partie du répertoire standard de solistes de renom, et c'est vraiment grâce à eux que les opéras auxquels ils appartiennent sont devenus célèbres. C'est sans doute vrai des airs tels que Lascia ch'io pianga, Ombra mai fu et Caro Mio Ben. Dans Coro Mio Ben, Gwyn Arch a créé de nouveaux arrangements d'oeuvres et ces plus de Haendel, Mozart, Verdi et d'autres compositeurs, et donc ouvert ce genre musical à un public entièrement nouveau. Les accompagnements de piano sont largement tournée vers les originaux. Comprend 2 CD avec 18 enregistrements complets chorales et 10 pistes d'accompagnement de piano. / Choeur Mixte (SATB)

En Namibie, le chant est omniprésent partout où vous allez. On chante un peu partout, au travail, lors des fêtes, comme un moyen d'exprimer la joie ou de la tristesse, ou comme un moyen de transmettre des histoires traditionnelles par le bouche à oreille. Il ya une répertoire adapté à chaque occasion.Les chansons de Opela, nous sommes là pour chanter sont merveilleusement approprié pour le chant partie sans accompagnement au piano, à la fois pour les chorales d'expériences et pour inexpérimentés '' pas-encore-chanteurs ''. Les mélodies colorées et les arrangements simples mais très animée peut être appris dans un délai très court, puis exécuté immédiatement, par exemple, comme une contribution créative à un service religieux. Dans le même temps, le matériau musical est si riche en contenu que les choeurs d'imagination peut-elle développer en morceaux entraînants de concert. Ils vont trouver le CD du Choeur UNAM une riche source d'idées. / Choeur Mixte (SATB)

A virtuosic choral arrangement of Rossini's The Barber of Seville Overture as arranged for The King's Singers by Daryl Runswick. Scored for SATTBB Choir A Cappella.

Full Score for the Opera in Two Acts. Scored for SATB Soli SATB Chorus and Orchestra. Commissioned by English national Opera with funds from the Arts Council. Text: Judith Weir after Ludwig Tieck.

This album for mixed choir and piano contains a selection of richly varied choruses from Italian French German English and Russian operas from the 17th to 19th centuries illuminating the great diversity of the genre.Foreword (Ger/Eng) which places the choruses in their dramatic context and includes suggestions for study and interpretationNotes on pronounciation of the Russian song textIn a large format (23 x 30 cm)

from the Opera The Newport Rivals-A duet from the Kirke Mechem opera The Newport Rivals this setting for chorus makes a poetic and expressive work for either mixed or women's ensembles. Light and gracious it would program nicely with otherlove-themed works.

Invictus: A Passion seeks to address one of the most powerful and dramatic of the world’s traditional religious stories through the lens of a diverse modern world. A variety of texts written or inspired by women form a narrative that describes human suffering and persecution but also emphasises the human capacity for love and humility in the face of tyranny. These universal messages are brought to life with the emotional clarity and sweeping force of any Howard Goodall score. Invictus: A Passion is scored for soprano solo tenor solo SATB choir and chamber orchestra. The vocal score includes a piano reduction.

A cura di F. Della Seta - Riduzione per canto e pianoforte-Ricordi the well-known printer of classical opera presents the works of the great opera composers in its Critical Edition practical series. These revised definitive scores are produced by using all the currently available sources ranging from the original autographs to printed editions in line with strict philological and critical criteria. Each edition has a brief introduction providing the historical context for the opera in question. This series combines the rigour of a critical approach and a practical easy-to-follow editorial lay-out. The hidden sadness and frustration of living as a moral outcast the attempt to simulate innocence infrivolous living and the desperate search for relief from pain and anguish the destruction of all hope in an unrealistic love affair... this is Violetta Valery. Verdi penetrated the tormented sensitivity of her soul as he visualized her in his music transforming her individual fate into a universal representation of human suffering. His compassion for her however met with bigoted censure: the bourgeois public scandalized by the presence of a kept woman as a character on the stage gave the opera an icy reception at its premiere in Venice (Teatro La Fenice 6 March 183). Certainly an inferior cast for the occasion did little to help. Only the following year when La Traviata was revived for another production in Venice (Teatro San Benedetto) did the tale of Violetta manage to overcome this prejudice and win the unconditional esteem it so deserves.

The Magic Flute K. 620 is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel a popular form that included both singing and spoken dialogue. Arranged for Piano and Voice.

10 beliebte Opern-Arien für Chor (a cappella) in einem Band ungekürzt wiedergeben. Die Stimmführung orientiert sich weitgehend am Original. Überwiegend mit deutschen Texten. Wirkungsvolle Vortragsstücke für gemischten Chor! Von Thorsten Kuhn.

This chorus also appears in the anthology Opera Choruses. Orchestral material is available on hire