Opera with a Prologue and four Acts (First version) / Opera in five Acts (Second version) Dialogue versions. Par GOUNOD CHARLES. Charles Gounod’s “Faust” secured its international recognition in the version as an entirely sung opera, which from thenceforth has largely obscured the fact that the work was originally composed with spoken dialogues. The early versions staged prior to the 1869 performance at the Paris Opéra containing substantial unknown material and with dialogues and melodramas are the subject of this new edition. (The third version “version opera” was published in a separate edition BA 8713 in 2016.) Even as the rehearsals were taking place at the Théâtre-Lyrique in 1858, during the first series of performances at the theatre in 1859, furthermore as the 1862 revival was approaching and during the performances on the smaller stage at the Place du Châtelet, there were constant changes and revisions. It is, thus, impossible to identify manifestly definitive versions. Nevertheless, by drawing on the entire source material now at hand (including fascinating material only recently discovered) and on the whole gamut of aspects communicated by the reception, Paul Prévost systematically presents us with a score laid out in two main versions in whose chronology constancy and change become transparent. With all the musical changes having been documented, the result is a practicable score for performances which reveals a still far too unknown “Faust” – a “Faust” that is rooted in the tradition of the opéra comique. Quite a few musical numbers are published as a score for the first time in this edition: the trio for Faust, Wagner and Siebel “À l’étude ô mon maître”, the duet of Valentin and Marguerite “Adieu, mon bon frère!”, Méphistophélès’ air “Maître Scarabée”, Siebel’s romance “Versez vos chagrins dans mon âme!”, Valentin’s air with chorus “Chaque jour, nouvelle affaire”, the chorus of witches “Un deux et trois”, and also seven melodramas whose missing or incomplete orchestration has been written for our edition. It was only recently that the long-lost second part of Faust’s original cavatina “Salut! demeure chaste et pure” was unearthed. Only in details of orchestration do other numbers differ from the well-known pieces./ Répertoire / Opéra

The OperAria repertoire anthology was much applauded when it came on stage with three baritone volumes in 2015. The successful baritone debut was followed in 2017/18 by the appearance of the four soprano volumes, also conquering hearts in no time. Now, another performance: The curtain rises on the bass volumes, the foundation of the vocal family for heavier, darker voices, though nevertheless brilliant and full of radiance. The protagonists have such well-known names as Bartolo, Don Basilio, Colline, Don Pasquale, Falstaff, Figaro, Kecal, Osmin, Sarastro. Other heroes less often in the limelight, such as Dulcamara, Sancho Pansa, Phanuel, and Sir Morosus, can certainly also count on much applause. 'It is my aim to give students a modern, systematically structured, well-informed vocal coach that meets the demands of present-day stage practice. And, of course, a cohesive repertoire and logical presentation of audition arias for every vocal genre. ' (Peter Anton Ling) OperAria is the ideal ?vocal coach? for all voice types. Edited by Peter Anton Ling, the books address all singers and are conceived above all for training and auditions. In addition, through their careful selection, they offer valuable inspiration for opera recitals. OperAria ? repertoire anthology of opera arias according to vocal criteria (range, tessitura, specifics, type of aria) with due regard to practical aspects of musical and theatrical nature (style, era, role type, national provenance) with comments on the arias information on the composer, the librettist, the work, the range and of versions or casting a short synopsis of the contents illuminating the basic dramatic constellation in the context of the opera?s plot an evaluation from the singer?s point of view with ?phonetic assistant? and ?text assistant? aria texts in the original language spoken by native speakers as an audio file (mp3) aria texts in German and English translations as a text file (pdf) available for download / Date parution : 2019-09-06/ Recueil / Basse Lyrique-Dramatique

Par . “Una voce poco profonda”: Curtain up for Trouser Roles and Heroines Whether the voice is lyric light or heavy, whether it can master coloratura, perhaps even has dramatic potential – in the OperAria mezzo-soprano and alto volumes, singers with a deeper voice and a special talent for the trouser role through to the heroine find everything they need for their performance. Throbbing of the heart? Yes, that’s simply part of the game! Feeling nervous? No, because actually nothing can go wrong with OperAria. The best vocal coach for auditions and current theatre practice. Only the voice needs to do its bit. Toi, toi, toi! “Our goal is to give the user a modern-day, systematically structured vocal coach who satisfies the demands of present-day theater practice. At long last a consistent repertoire and a well-ordered conflation of respective audition arias for all vocal genres.” (Peter Anton Ling and Marina Sandel, editors) OperAria – repertoire anthology of opera arias according to vocal criteria (range, tessitura, specifics, type of aria) with due regard to practical aspects of musical and theatrical nature (style, era, role type, national provenance) with comments on the arias information on the composer, the librettist, the work, the range and of versions or casting a short synopsis of the contents illuminating the basic dramatic constellation in the context of the opera’s plot an evaluation from the singer’s point of view with “phonetic assistant” and “text assistant” aria texts in the original language spoken by native speakers as an audio file (mp3) aria texts in German and English translations as a text file (pdf) available for download / Date parution : 2022-11-04/ Recueil / Chant et Piano

lyric. The OperAria repertoire collection for all voice genres that was successfully launched last year has produced lyrical soprano progeny: From Adele to Zerbinetta, from Pamina to Mimi and Ellen Orford - the first two (of altogether four) soprano volumes contain a representative sampling of important arias from the multifaceted lyrical repertoire. Classical audition arias can be found there, just as vocal gems from opera rarities and arias of classical modernity, each one obviously reliably and carefully edited. Accessorizing one's own lyrical voice, the singer will find a wealth of material such as: information on the composer, the librettist, the work, the vocal range, on questions concerning versions and scoring as well as on the storyline, along with instructive tips from a singer's viewpoint provided by experienced voice teachers and a Phonetics Text Assistant on CD-ROM with diverse possibilities of use. OperAria is the ideal vocal coach for all voice types. Edited by Peter Anton Ling, the books address all singers and are conceived above all for training and auditions. In addition, through their careful selection, they offer valuable inspiration for opera recitals. / Date parution : 2019-09-06/ Recueil / Soprano Lyrique

Favourite opera themes in jazzy arrangements Well-known classical themes, arranged with jazz and pop elements, making opera fun and appealing for all ages! • Easy, jazzy arrangements of famous opera themes • Short, lively descriptions of the operas • For all lovers of 'crossover' between classical, jazz and pop music • Written improvisations as well as chord symbols for your own improvisations • Performance tracks of all pieces, played by live musicians • Backing tracks recorded in the studio for you to play along with • Piano accompaniments available as PDF files on the CD / Opéra-opérette / Recueil / Violon et Piano ad lib.

Par GOUNOD CHARLES. A lifelong resident of Paris, Gounod can hold a claim to being the most important figure in late 19th century French music on account of his influence on later composers. Studying at the Paris Conservatoire, Gounod left in 1839to travel through Europe, initially to Rome but then on through Austria and Germany. He was profoundly struck by the music he heard at the Sistine Chapel and by the German musical tradition, and upon his return was uniquelycosmopolitan in his influences among Parisian musical society. His early works consisted largely of liturgical settings that earned him some praise, but his work in the area in which he is most remembered, namely opera,tooktime to be recognised. His first two operas, Sapho (1851) and La Nonne sanglante (1854), drawing heavily on Gluck and Meyerbeer respectively, did not attract great attention. However, his subsequent works, including seven stagedoperas between 1855 and 1865, were increasingly well-received, none more so than his masterpiece Faust (1859). Two further successes, Mireille (1864) and Roméo et Juliette (1867) were premiered at the ThéâtreLyrique and inspired by the voice of Marie Miolan-Carvalho, the singer who had created Marguerite in Faust. Roméo et Juliette, with a libretto faithful to Shakespeare, by Barbier and Carré, who had providedtexts for some of Gounod’s earlier works, is inescapably full of love music, but is by turns as wistful and cheerful as any in Gounod’s operatic output. Based upon the 1876 published version of the opera, theedition includes: • Original version of N° 1 Introduction, including Si mon coeur encore sommeille • Ariette N° 3 (Je veux vivre) in both F and G majors. • Three possible endings for Act1, including Il nous échappe! • Cavatine N° 7 (L’amour! Oui! Son ardeur a troublé) in both B and B flat majors. • Original version of N° 11 Trio et quatuor (Dieu, qui fisl’homme à ton image!) • Choeur et danse N° 19 (Frappez l’air) / Opéra-opérette / Date parution : 2010-05-01/ Répertoire / Choeur

A new series for players of all ages. - Easy, jazzy arrangements of famous Opera songs - CD to play along with - Exciting new arrangements - Brief, amusing synopsis of the operas from which the pieces are taken - Variety of styles (from Blues to Ballad) - Piano accompaniments supplied as PDF files on CD / Opéra-opérette / Recueil / Clarinette et Piano ad lib.

Par GOUNOD CHARLES. L'interprétation de Charles Gounod est le plus connu et le plus joué de n'importe quel stade ou le traitement d'orchestre de la légende de Faust. Faust était un grand succès lors de sa première performance pleinement réalisé à la Scala de Milan en 1862. Le lyrisme de l'Opéra, grande variété de l'humeur et la couleur d'orchestre, et la délimitation subtile de caractère continuent d'enchanter génération après génération de spectateurs. Désormais, les passionnés d'opéra peuvent étudier et apprécier le chef-d'oeuvre totale dans ce volume attrayant, qui a été tiré à part de l'édition autorité. Malgré la fréquence de ses performances, le travail de Gounod est difficile de trouver dans la presse, cette rare édition de la partition constitue un trésor pour les conducteurs, les interprètes et les majors de musique. / Niveau : Intermédiaire à Avancé / Répertoire / Opéra

Par RUTTER JOHN. Opera Chorus est une collection de 35 choeurs d'opéra classique, savamment disposés comme oeuvres de concert séparés, le tout avec une excellente traduction anglaise et le chant des réductions clavier pratique. Le matériel d'accompagnement orchestral pour tous les titres de la collection est disponible à la location. Certains articles de ce volume sont disponibles séparément sous forme de brochures de la série Oxford Choral Classics Octavo. John Rutter est né à Londres en 1945 et a étudié la musique au Clare College, Cambridge. Ses compositions embrassent la musique chorale, orchestrale et instrumentale, et il a édité ou co-édité plusieurs anthologies chorale dont quatre pour des volumes de Carols chorales avec Sir David Willcocks et l'Oxford Choral Classics série. De 1975 à 1979, il a été directeur de la musique au Clare College, et en 1981 il a formé son propre choeur, les Cambridge Singers. Il partage maintenant son temps entre la composition et la conduite et est recherché comme un chef d'orchestre invité pour le leader mondial des chorales et orchestres./ Recueil / Chant

Capturez la grandeur et la puissance des thèmes Opera meilleurs dans ce jeu spécialement sélectionnés de solos de piano avec CD d'accompagnement. Depuis les premiers travaux de scène dévots de Haendel et Purcell, à travers les productions exotiques et ludiques de Mozart et de Rossini aux innovations spectaculaires et coeur-arrêt de Wagner, Tchaïkovski et au-delà, cet ensemble de mouvements spécialement sélectionnés ont été soigneusement disposés comme des solos de piano. Présentant des spectacles complets de toutes les pièces sur CD, il s'agit d'une collection absolument indispensable pour tout amateur d'opéra, et une excellente source de répertoire pour piano inhabituelle. / Piano

Référence unique par son ISBN 73999258608 cette partition musique n'est autre que Operatic Anthology Arias From Operas Vol.4 Baritone qui a été composée pour Voix Et Piano. Les droits d'auteur de cette partition de musique de style Classique se trouvent chez les éditions Hal Leonard. La référence catalogue de cette oeuvre est HL50325860. / Voix Et Piano / 288 pages / Partition

Opera in five acts Version with recitatives. Par GOUNOD CHARLES. Charles Gounod’s international renown is based on the success of his opera „Faust“ after Goethe’s drama: The aging Faust makes a pact with the devil. He sells his soul to Mephistopheles and in return gets back his youth – and he experiences new happiness in love when he meets the young Marguerite. The vocal score to Gounod’s masterpiece (completely sung version) assembles many popular numbers such as Marguerite’s “Jewel Aria” and the “Lied of the King in Thule” as well as Mephistopheles’s “Rondo of the Golden Calf” and Faust’s Cavatina “Salut ! demeure chaste et pure”./ Répertoire / Chant et Piano