A Comic Opera. Par BICKERSTAFF ISAAC (Arr. TOMS EDWARD). 'Love in a Village' was first performed on 8 December 1762 at the Covent Garden Theatre (London). It was to become one of the most popular British musical stage works of the century, and by 1791 it had also gained international acclaim. The question of why this pastiche comic opera was able to develop this special attraction can be described in terms of fashion and tradition. By bringing stylistically sophisticated compositions by various well-known composers such as George Frideric Handel, Thomas Augustine Arne und Francesco Geminiani into the traditional 'Ballad Opera', the theatre makers succeeded in renewing traditional ways of producing and performing playhouse entertainment. The music of 'Love in a Village' stems from four sources: Vocal music from the amusement gardens, Italian opera arias from the 1750s and 1760s, theatrical or occasional music and folk melodies. Love in a Village' thus further developed the methods first used by 'Ballad Opera' to create a comic opera from a sentimental plot and pre-existent vocal compositions. The fourth volume in our OPERA series consists of a linen-bound volume and an Edirom file stored on a USB card in credit-card format. The number of simultaneous users of the edition's digital component is unlimited./ Répertoire / Chant et Orchestre

Par DEBUSSY CLAUDE. The tragic tale of brothers who are in love with the same mysterious woman, Debussy's only opera is a perfect marriage of music and verse. The culmination of an eight-year effort on the part of the composer, the five-act lyricdrama premiered in 1902. This volume, reprinted from the E. Fromont 1904 edition, reproduces the full orchestral-vocal score in a clear, modern engraving. / Date parution : 2023-05-06/ Répertoire / Chant et Orchestre

Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano e inglese). Par ANTONIO VIVALDI. 'With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the ?Red Priest? for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer?s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Foà 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin ? Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera?s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi?s opera underwent, an operation that sheds light on the inner workings of Vivaldi?s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed. '/ Répertoire / Chant et Orchestre

Part I: Pierrot Lunaire, Op. 21. Par SCHOENBERG ARNOLD. Arnold Schönberg est la figure centrale du monde musical du XXe siècle. Sa signification musicale était déjà évidente pendant sa durée de vie, mais son influence à titre posthume a augmenté énormément. Son travail a ouvert la voie à révolutionnaire des changements dans la perception musicale. Cette édition complète aspire à être tout aussi indispensable pour la recherche, ainsi que pour la performance. L'édition est publiée en deux séries : série a en format folio contient des oeuvres tout rempli, toutes les partitions piano préparées par le compositeur lui-même et les oeuvres tout inachevées convenable pour la performance - également des fragments (gros scores) qui sont mieux adaptés pour être imprimées dans un tel format. Série B, au format in-quarto, contient des versions précoces, des croquis, des idées et des fragments ainsi que Genèse et un commentaire critique. / Date parution : 1996-12-17/ Répertoire / Chant et Orchestre

Par BEETHOVEN LUDWIG VAN. Les éditions G. Henle réunissent l'intégrale des oeuvres vocales avec orchestre de Beethoven en un seul paquet qui va faire battre plus vite les coeurs des chanteurs et des chanteuses: des deux messes et de son seul oratorio, en passant par sa célèbre Fantaisie chorale et sa mise en musique du texte de Goethe «Meeres Stille und Glückliche Fahrt», jusqu'à son «Ah perfido!» et autres airs solistes, ce coffret offre l'opportunité d'étudier toute la diversité de l'art vocal de Beethoven – et, bien sûr, au plus haut niveau de la qualité: toutes les éditions d'étude se basent sur l'édition complète des oeuvres de Beethoven, les notes de bas de page renvoient à d'intéressants questionnements concernant l'édition et l'interprétation. Dans leurs préfaces concises, les éditeurs permettent de jeter un regard sur l'état actuel de la recherche en matière de genèse et d'interprétation des oeuvres./ Répertoire / Chant et Orchestre

für Singstimme und Orchester. Par MOUSSORGSKY MODESTE. / Répertoire / Chant et Orchestre