Par GILBERT W.S.. Libretto of the popular comic opera, Trial By Jury, composed by Arthur Sullivan and W. S. Gilbert, which premiered at the London Royalty Theatre in March 1875. / Date parution : 2023-03-11/ Livre / Chant

Par . This single-volume compilation features four popular opera fantasies arranged for Violin with Piano accompaniment. Each of these frequently performed pieces was arranged by a world-class artist and offers the convenience of a separate Violin part: Carmen Fantasy from the Opera by Georges Bizet, Op. 25, transcribed by Jenö Hubay. Fantasia on Themes from Gounod's Faust, Op. 20, transcribed by Henri Wieniawski. Fantasie from Mozart's The Magic Flute, Op. 54, transcribed by Pablo Sarasate. Fantasie Brillante on the March and the Romance from Rossini's Otello, Op. 11, by Heinrich Wilhelm Ernst. This collection is ideal for practice, performance, teaching, and independent study bystudents, professional performers, and amateur ensembles. / Date parution : 2023-03-15/ Recueil / Violon et Piano

Par BIZET GEORGES. / Date parution : 2022-03-08/ Répertoire / Orchestre D'Harmonie

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

Canto e piano. Par PUCCINI GIACOMO. / Date parution : 2022-10-12/ Répertoire / Chant et Piano

Lucia di Lammermoor de Gaetano Donizetti, ecrit sur un livret de Salvadore Cammarano, a ete cree au Teatro di San Carlo de Naples le 26 septembre 1835. Il est reste au repertoire sans interruption comme l'un des operas les plus populaires de Donizetti tout au long de son existence de pres de 200 ans. L'edition propose comme texte principal une version de l'opera qui, en majeure partie, est aussi fidele que possible a celle donnee lors de la premiere a Naples. L'edition critique retablit les tonalites originales, conservant ainsi la conception harmonique globale de Donizetti, mais aborde les transpositions qui sont entrees plus tard dans la tradition d'interpretation et d'edition de l'opera. Nous presentons ici la reduction pour voix et piano. / Partitions classique / Vocale - chorale / Voix solo - piano / RICORDI

Symphonies. Par RAMEAU JEAN-PHILIPPE. This edition unites all the purely instrumental and dance numbers from one of Rameau?s most popular operas, along with those from his last one-act opéra-ballet ?Io?, which was left unfinished at the time of his death. ?Platée? is the setting of a libretto by Jacques Autreau that Rameau arranged to be adapted for his own purposes, especially with regard to comic effects. In grotesque form, it shows Jupiter curing his wife Juno of her jealousy by feigning a marriage of love with the ugly swamp nymph Platée. Faced with such a ludicrous rival, Juno is forced to admit that her suspicions were unfounded. The opera was premièred in Versailles in 1745 for the wedding of the Dauphin Louis and Maria Theresia of Spain. The performance was a fiasco, however, for the coarse comedy and bizarre characters were deemed inappropriate by the wedding audience. It was not until 1749 in Paris that ?Platée? achieved its breakthrough, becoming Rameau?s greatest triumph to date. Another version with an altered text was performed from 1754 on. The plot of the fragmentary ?Io? deals with the amorous relations between the nymph Io and Jupiter in the guise of the shepherd Hylas, who becomes a rival of Apollo, disguised as Philemon. Now the inventive and richly varied orchestral numbers from this cruelly comical bonfire of the vanities can be presented in concert with greater flexibility. / Date parution : 2022-04-05/ Répertoire / Ensemble de Chambre

Edizione critica a cura di Claudio Toscani (testi in italiano e inglese). La fille du régiment, always one of Donizetti?s most popular stage works, was first performed at the Théâtre de l?Opéra-Comique in Paris on 11 February 1840. It was composed by Donizetti, to a libretto by Saint-Georges and Bayard, in 1839, for the French debut of soprano Juliette Bourgeois. Later on, Donizetti prepared an Italian version as well, using a libretto adaptation by Calisto Bassi, and making several alterations to the French version of the score (the premiere of the new version, entitled La figlia del reggimento, took place at La Scala Theatre in Milano on 3 October 1840). The opera enjoyed tremendous success ? at the Opéra-Comique alone, more than one thousand performances were given between 1840 and 1917 ?, and was widely staged in the major European and American opera houses. Owing to the lack of available autograph music sources ? only a few score sketches and fragments survive, kept at the Bibliothèque Nationale de France ?, the principal source for this edition is the printed score prepared by the Parisian publisher Georges Schonenberger during the spring of 1840. Together with the full score, Schonenberger also engraved and printed the orchestral parts. Previously, the publishing house had printed the piano vocal score of several selected numbers from La fille du régiment, as well as the complete score reduction of the work. The Schonenberger edition constitutes, however, a problematical source. The engravers had to work under great pressure - the score was assembled in less than a month -, and the final product turned out to be of mediocre quality, abounding in imperfections, errors, and inconsistencies affecting both the literary and the musical texts. This critical edition has therefore been realized, first of all, through a careful reconstruction process: the text handed down by tradition was compared with a number of sources (including the manuscript scores of the Italian version) that have enabled the editor to address the multiple problems posed by the principal source. The spoken dialogues, missing in the printed music sources, are derived from the libretto used for the première. The critical edition of La fille du régiment reinstates Tonio?s romance «Pour me rapprocher de Marie» from Act Two, included in the original libretto and actually sung at the première, but expunged from the Schonenberger edition of the score. Donizetti himself cut the romance soon after the première, possibly because of the tenor?s poor performance - as a result, the omission became customary. The appendices to this critical edition present, additionally, two unpublished variants, handed down in form of complete and autograph score: these pieces, crossed out or modified through the compositional process, add fresh new possibilities to current performance practices. The first one is a duet for Marie and Tonio that Donizetti had originally devised for Act Two, but later deleted from the score. The second one is a preliminary draft of the Act Two Finale, later expunged and replaced, in both music and literary text, by the final version.