Par NARCISO S.. / Formation musicale / Recueil / Opéra Théorique ou Didactique

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

Opera in 3 acts Text: Meredith Oakes after Shakespeare-The opera The Tempest is inspired by Shakespeareâ??s play rather than literally being based on every aspect of it. There are key images from the play as well as new material. From among the playâ??s many themes and possible interpretations the opera focusses on the difficulty and the necessity of mercy. The libretto uses contemporary vocabulary. Its lines are short rhythmic and rhymed or semi-rhymed echoing Shakespeareâ??s strophic songs more than his blank verse. This choice reflects the playâ??s magical ritual childlike elements and acknowledges the traditional power of incantation in song. The operatic Prospero is the passionately vengeful man seen in the play more than the wise disconnected actor also seen there. Despite his near-omnipotence he finds things out as he goes along and experiences contradictory emotions to the end. Please note: Full Score and Parts are rental material. Please contact hire@fabermusic.com

The Complete Libretto-The enticing music of Puccini's La Bohème perfectly conveys the enchantment of new young love and the anguish that comes with loss and death. This gorgeous souvenir libretto includes extensive background notes and photos from productions staged through the years by the Metropolitan Opera.There's a reason La Bohème has been staged at the Met more often than any other Opera. The passionate and timeless story of love among impoverished young artists in Paris has a marvelous ability to make a powerful first impression (even on those new to Opera) and to reveal unexpected treasures after dozens of hearings.At firstglance La Bohème is the definitive depiction of the joys and sorrows of love and loss; on closer inspection it reveals the deep emotional significance hidden in the trivial things (a bonnet an old overcoat a chance meeting with a neighbor) that make up our everyday lives. This touching story of tenderness and tragedy never fails to move audiences and melt hearts.

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

This new Opera was first performed in 1998 in Huddersfield by Opera North. Designed for the modern stage it utilises only a small cast and orchestra albeit one with a good variety of percussion! The libretto is adapted by thecomposer from the play ‘The Love of Don Pemperlin for Belisa in the Garden’ by Feredico Garcia Lorca translated into English by David Johnston. The plot revolves around the ill-fated marriage of Don Pemperlin an ageing bachelorand his beautiful neighbour Belisa which was suggested by Pemperlin’s maid. Tricks and misunderstandings abound and because of them Pemperlin ends by stabbing himself and dying even as Belisa proclaims her love for him.

Luis Tinoco (Composer) and Stephen Plaice (Libretto) wrote 'Paint Me' and Opera for six singers and Chamber Orchestra.Rui Horta and Joana Carneiro are responsible for the stage direction and the musicaldirection.'My idea in writing Paint Me was to bring together six characters all of whom have a prolific imaginative interior life and to explore what they would make of each other in the confines of a railwaycompartment. The model for my libretto is Geoffrey Chaucer’s The Canterbury Tales. The travellers in Paint Me are also on their way to Canterbury but they are strangers thrown together by the randomness of modern travel. Theirtales are not told publicly but in their own imaginations. Most journeys in the modern age are anonymous and conducted in silence. We have only a visual or perhaps manneristic impression of the people sitting opposite us. Thisintrospection in public opens up a private fantasy space in which our fellow travellers can become the characters in instant psychological dramatisations.I wanted to formalize each character’s fantasy into a full narrative. Theresult is a kind of anthology of operatic short stories surrounded by the framework of an ordinary journey.'     - Stephen Plaice

Hector Berlioz was enthralled by Gluck and heard his masterpieces Iphigénie en Tauride Orphée Alceste and Armide in Paris.The original Italian version of Orphée gives the title role to a castrato. Gluck rewrote the part for high tenor for the performances in France (1774). In 1859 Berlioz arranged the opera so that Orpheus could be sung by the great mezzo-soprano Pauline Viardot with whom he worked closely at that time. He changed the formal design by dividing the work into four instead of three acts and placing the scenes in Hades and the Elysian Fields in separate acts. He also changed certain sections of Orpheus?s part mainly in therecitatives and fundamentally reworked Gluck?s orchestration.Berlioz?s version of Orphée is published as volume 22a of the New Berlioz Edition. This vocal score is based on that volume.- Vocal score based on the Urtext of the ?New Berlioz Edition?.- Original French text underlaid with singing German translation.- Trilingual Preface (Ger./Eng./Fr.).- Performance material available for hire.

Full Score-Thomas Adès? The Tempest one of the most striking and successful operas of recent years is available for the first timeas a beautifully produced limited-edition full score. Featuring the stunning image ?Octopus? by artist Claire Burbridge this unique cased edition includes colour plates of exclusive images from Adès? original handwritten score and sketches. Each copy is signed and numbered by the composer. From the turbulent orchestral prelude with which it begins to Ariel?s stratospheric yet ethereal ?Five fathoms deep? and the radiant quintet of reconciliation inits final act Thomas Adès conjures up a wholly compelling musical world in The Tempest.Responding to librettist Meredith Oakes? clear unfussy refashioning of Shakespeare into formalised rhyme schemes Adès has created a new kind of tonal language that is both direct and communicative but also indelibly contemporary.? Limited to 250 copies with signed and numbered limitation page.? Cased square back and sewn.? Endpapers feature original artwork ?The Firmament? by Claire Burbridge.? Case features original artwork ?Octopus? by Claire Burbridge printed in neon Pantone 809 with scratch-proof matt lamination and high gloss uv.? Black book-block edges ribbon and head

'Faust? stands for the composer Gounod himself, who was torn between the expression of excessive sensuality and a deep spirituality which he was searching for in his Catholic faith. As such, in this most important musical setting of Goethe's drama, the work was given a deeply personal interpretation. With a detailed Foreword (Fr/Eng/Ger) this new edition presents the genesis of the work with its various, during Gounod's lifetime, completely sung versions.The main version of our edition was performed at the Paris Opéra on 3 March 1869. However, simple cross references in the score enable a reconstruction of the earlier and later stages of this work for performance. Rounding off this publication is a critical edition of the libretto. All available sources are described and the Critical Commentary provides information about any changes made to the individual numbers.The two earlier Faust versions with spoken dialogue will be included in a separate volume within this series (in preparation, BA 8714). / Opéra

Par IBANEZ / CURSA. Nueva metodología de Lenguaje Musical. En este segundo libro se abarca, en el aspecto rítmico, la división del pulso: corchea-silencio y viceversa (notas a contratiempo) - semicorcheas en grupos de cuatro - síncopas de negra - ritmo de negra con puntillhea - pulso ternario (seis por ocho con sus ritmos básicos) - el 'tresillo' - pulso binario y ternario dentro de un mismo compás. En el aspecto melódico se trata la distinción entre el modo mayor y menor - los intervalos simples en su aspecto numérico - lible en los modos menores - las tonalidades, además de Do mayor y La menor, que tienen un sostenido y un bemol en su armadura. El libro del profesor, contiene las respuestas correctas del alumno y las fichas de trabajo del alumno están perforadas y solmente extraíbles, por si el profesor considera oportuno corregirlas individualmente. Ambos presentan la misma paginación./ Solfège/Formation Musicale / Opéra Théorique ou Didactique

Par SIERRA F.. Metodología de Lenguaje Musical que abarca el Grado Elemental y Grado Medio. Adaptándose a las más modernas líneas pedagógicas, estos libros persiguen introducir al alumno progresivamente en el Lenguaje Musical de una manera completamente lúdica, utio para ello los más variados recursos, como canciones que combinan palmas, movimiento, improvisación, juegos de creatividad. Todo ello añadido a una atractiva presentación que incluye numerosos dibujos, ilustraciones y páginas a todo color. Cada cursta de dos volúmenes: A y B. Metodología de acuerdo con la LOGSE./ Autre FM / Opéra Théorique ou Didactique