SKU: HL.49004865
ISBN 9781423413134. UPC: 073999276947. 6.0x9.0x0.366 inches.
Diction lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations. The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations. The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations. The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations. The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.Dicti on lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations< br>With these book/CDpackages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version thecoach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coachesadapt the “R” in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each ariaand word for word translations. The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelmanfor German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.
SKU: CA.1124500
ISBN 9790007164157.
Orig inal compositions for mezzo-soprano or alto, recorder and basso continuo. The 12th volume in the series Flauto e voce is full of surprises, with first editions of a single surviving aria by George Frideric Handel (HWV 214) and a bird aria by Attilio Ariosti. Three sacred arias by Johann Sebastian Bach (from BWV 119) and Georg Philipp Telemann, and secular arias by Johann Hugo von Wilderer and Reinhard Keiser expand the repertoire for low female voice with recorder.
SKU: BA.BA04096
ISBN 9790006550098. 33 x 26 cm inches. Text Language: Italian. Preface: Terence Best. Text: Carlo Sigismondo Capece.
The Italian oratorio La Resurrezione (The Resurrection) was written during Handel’s time in Rome. It was performed on Easter Sunday 1708 with great splendour and extravagance by a large orchestra conducted by Arcangelo Corelli in the Palazzo Bonelli, the Roman palazzo of Handel’s patron the Marchese Francesco Maria Ruspoli. In its dramatic structure and characterisation of the protagonists, the work displays a striking affinity with Italian opera. Lucifer’s raging sixty fourth notes call to mind the demon characters in Venetian opera and Maddalena’s arias are so full of expressive power and virtuosity that Handel later incorporated one of them into his opera Agrippina. The unusual musical richness of this work and the virtuosic and masterly shaping of the arias make it a welcome addition to any concert programme.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY 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
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY 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: BA.BA10700
ISBN 9790006550135. 33 x 26 cm inches. Text Language: English, Italian. Preface: Heinrich, Artie. Text: Gay, John / Hughes, John / Pope, Alexander / Giuvo, Nicola.
Handel set the myth about the love of the shepherd Acis for the sea nymph Galatea from Ovid’s “Metamorphoses†a total of three times: in the cantata “Aci, Galatea e Polifemo†HWV 72 (1708), the masque “Acis and Galatea†HWV 49a (1718) and finally the pasticcio-like serenata “Acis and Galatea†HWV 49b (1732) of which the original version is now made available in its complete form for the first time.A particular charm is provided by the use of two languages in the serenata. The work was originally conceived in English, as was required for the first performance. However, Handel’s Italian singers were criticised for their poor command of English, – so in the end, many numbers were sung in Italian. The extensive appendix to the vocal score includes the additional arias and newly composed movements for the versions used in the 1734 and 1736 performances.
SKU: CA.3912013
ISBN 9790007055653. Language: German/English.
Thi s three-movement solo cantata can be performed in several ways. The instruments basically required are the trio sonata ensemble of recorder, oboe and keyboard instrument (+ a continuo melody instrument ad lib.). If necessary, as Telemann stated, the two woodwind parts can be placed by violins. The instrumental parts can also be augmented by a body of strings, playing in the ritornello sections of the two arias. Moreover, the new edition expands the performance possibilities for the work by adding a four-part chorus from the more fully scored original version, which Telemann did not publish. Score and part available separately - see item CA.3912000.
SKU: CA.3912019
ISBN 9790007144296. Text language: German/English.
Thi s three-movement solo cantata can be performed in several ways. The instruments basically required are the trio sonata ensemble of recorder, oboe and keyboard instrument (+ a continuo melody instrument ad lib.). If necessary, as Telemann stated, the two woodwind parts can be placed by violins. The instrumental parts can also be augmented by a body of strings, playing in the ritornello sections of the two arias. Moreover, the new edition expands the performance possibilities for the work by adding a four-part chorus from the more fully scored original version, which Telemann did not publish. Score and parts available separately - see item CA.3912000.
SKU: CA.3912005
ISBN 9790007055622. Language: German/English.
Thi s three-movement solo cantata can be performed in several ways. The instruments basically required are the trio sonata ensemble of recorder, oboe and keyboard instrument (+ a continuo melody instrument ad lib.). If necessary, as Telemann stated, the two woodwind parts can be placed by violins. The instrumental parts can also be augmented by a body of strings, playing in the ritornello sections of the two arias. Moreover, the new edition expands the performance possibilities for the work by adding a four-part chorus from the more fully scored original version, which Telemann did not publish. Score available separately - see item CA.3912000.
SKU: BA.TP01039
ISBN 9790006205295. 22.5 x 16.5 cm inches. Language: German. Preface: Antje Wissemann.
This cantata for the First Sunday after Trinity, first performed in 1726, is one of the most musically attractive compositions composed by Bach during his time as cantor at St. Thomas Church, Leipzig. In its alternating scoring for oboes, recorders and strings, the opulently-structured opening chorus describes the gesture of the breaking of bread. The arias and recitatives for the two soloists, alto and tenor show Bach at the peak of his compositional powers. The two-part cantata concludes with a simple chorus.- Urtext edition based on theNew Bach Edition- Richly coloured scoring using recorders and oboes- Vocal score (Ger/Eng), foreword (Ger/Eng)
