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

Tjenerindens Fortaelling-This is the Vocal Score for The Handmaid's Tale an Opera based on the novel by Margaret Atwood.

Miss Fortune by British composer Judith Weir is a contemporary re-telling of a Sicilian folk story. Tina’s wealthy family lose all their possessions overnight and she is thrown into a life ofpoverty. When her life’s course turns from bad to worse she makes a date with Fate. Her fortunes mysteriously change and after several fortuitous happenings she regains wealth and possibly a husband.The opera exploreswhat it means to be rich or poor; the mysteries of everyday life; and the effects of chance luck and accident on human existence.Miss Fortune had its premiere at the Bregenz Festival in summer 2011.

Libretto. New York's Metropolitan Opera ushers in the new millennium with the world premiere of John Harbison's splendid opera The Great Gatsby with a libretto based on F. Scott Fitzgerald's masterpiece. Among the highlights ofthe production are the fourteen Gatsby Songs written in the energetic dance style of the 1920s with sparklingly witty lyrics by Murray Horwitz.

These Three Instant Operas for children were composed by Stephen Oliver for Voices with Piano and Percussion. These three operas (Old Haunts Paid Off and Time Flies) are intended as fun and unusual introductions to operatic music. Each opera lasts around 8-10 minutes.

Glare - Chamber Opera by Søren Nils Eichberg was premiered with great success at the Royal Opera House in London on November 14 2014.

Song For The Duke Of Gloucester's Birthday 1695 (Full Score)-Henry Purcell (1659-1695) held numerous appointments at the Royal court and Westminster Abbey and is considered by many to be the greatest ever English-born composer. His prolific work covered all fields: orchestral ecclesiastical operatic theatrical incidental and chamber music were all enriched by his output.One of Purcell’s last pieces Who Can From Joy Refrain? (Z 342) was written for the 6th birthday of Prince William Duke of Gloucester in June 1695. The Prince was said to enjoy the brash tone of the Trumpet so the prominent Trumpet part was written especially for him. Unusually Purcell also made use of therecently-introduced Oboe and Bassoon.A real asset to the catalogue A Song For The Duke Of Gloucester's Birthday showcases the very best of Purcell’s genius.

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.

Bohemios was based on Henry Murger’s Scènes de la vie de bohème the same source for the operas of both Puccini and Leoncavallo.At its première in 1904 the Chorus of bohemians in Bohemios received such a rapturous response from the audience that three encores were demanded. The piece was performed an average of nine hundred times per year in its first twenty years and a fully operatic version was later produced. Amadeo Vives was a composer conductor and teacher of music in Spain in the late 19th and early 20th century. He was a choirmaster of renown and composer of many serious works as well as operettas and zarzuelas of which Bohemios was one of his best works. He broughtto zarzuela a raised standard of harmony Orchestration and taste and he suffered the frustrations of people of serious ambition whose lighter works are the most beloved and remembered.

Salieri, Antonio Prima la musica e poi le parole Divertimento teatrale in one act Details Edition no.: BA 8811-90 ISMN: 9790006542826 Editor: Betzwieser, Thomas / La Salvia, Adrian Arranger: Müller, Karl-Heinz / Schellevis, Hans Language(s) of work: German, Italian Language(s) of text: German, English Product format: Piano reduction, Urtext edition Comments: Replaces BA 7698-90 Binding: Paperback Pages / Format: XVI, 199 S. - 27,0 x 19,0 cm 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. The Italian court singers and musicians performed Mozart?s Schauspieldirektor whilst Antonio Salieri?s Prima la musica e poi le parole was performed by a German Singspiel ensemble. This charming opera satire belongs to the genre of ?metamelodrama? in which the opera itself becomes the subject of the action. The people who are part of an opera production, for example the writer, composer and prima donna, appear as characters on the stage and are presented in a humorous mirror image. 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 that time. By reflecting on the musical-dramatic style of that time and discussing whether ?the word? or ?the music? should take priority, this masterpiece is considered to be a forerunner to Richard Strauss?s Capriccio. This new edition of the score is published as part of OPERA ? Spectrum of European Music Theatre in Separate Editions. There are several alterations regarding the libretto text, stage directions, articulation, ornamentation, etc. which have been incorporated into the newly engraved vocal score. Furthermore, all appendix numbers from the score which concern the quotations from Giuseppe Sarti?s Giulio Sabino have also been incorporated. - Urtext edition based on the historical-critical hybrid edition OPERA-Spectrum of European Music Theatre in Separate Editions edited by Thomas Betzwieser (music edition) and Adrian La Salvia (text edition).- Original Italian libretto with singable German translation- Comprehensive bilingual foreword (Ger/Eng) on the genesis and reception of the work, on metamelodrama and intertextuality- Includes an extensive appendix to the quotations taken from Giuseppe Sarti?s Giulio Sabino- Idiomatic piano reduction

NOUVELLE ÉDITION 2017 - AUGMENTÉE Partition musicale (musical score) : Format A4, reliure cousue, couverture cartonnée 130 pages, Papier ivoire 90g avec notice biographique, synopsis, commentaire de l''uvre, et repères musicologiques. Chaque air est traduit et présenté dans le contexte de l'opéra, ISBN 9782849263372 Réf. EB-2-337 C'est seulement en 1713 que Vivaldi aborde l'opéra ; certaines sources parlent de 94 productions, mais seules 50 ont été identifiées. La musique de ces opéras n'ayant pas été imprimée, contrairement aux livrets, il ne reste trace (complète ou partielle) que d'une vingtaine d'opéras. Impresario du Teatro San Angelo de Venise, Vivaldi écrira la majorité de ces opéras pour ce théâtre. Les opéras de Vivaldi sont riches en arias d'une extraordinaire beauté. Envoutants, languissants, passionés, terrorisés, fâchés, les sentiments sont peints avec sensualité. Les 27 airs de ce recueil sont proposés en réduction chant-clavier, pour voix de mezzo, extraits des opéras :Farnace, Bajazet, Tito Manlio, Argippo, Andromeda liberata, Ottone in villa, L'Olimpiade, Il Giustino, la Verita in cimento, la Fida ninfa, Orlando Furioso. Gelido in ogni vena Dividete, o giusti Dei Sposa, son disprezzata Combatta un gentil cor Sonno se pur sei Se lento ancora il fulmine [transposition en sol mineur] Sovvente il sole Leggi almeno, tiranna infedele Ah che non posso, non lasciar d'amare Sento in seno ch'in pioggia di lagrime Mentre dormi, amor fomenti Ne giorni felici Vedro con mio diletto Ne vostri dolci sguardi Il ciglio arciero Fragil fior, ch'appena nasce Cara sorte di chi nata Alza in quegl'occhi Asconderò il mio sdegno Amorose ai rai del sole Voresti amor da me Taci, non ti lagnar Qual candido fiore Che dolce più, che più giocondo stato Io son ne' lacci tuoi Vorrebbe amando il cor Anderò, chiamerò dal profondo