Edizione Critica F. Della Seta - Riduzione Per Canto E Pianoforte. Par ROSSINI GIOACHINO. Composed in 1818 on commission from an unknown individual in Lisbon, Adina was left to languish some years until its premiere in 1826, with a single performance in that city remaining virtually the only one on record until the opera's revival in 1963. The present vocal score is based on the critical edition of the orchestral full score prepared by Fabrizio Della Seta and published by the Fondazione Rossini of Pesaro in collaboration with Casa Ricordi. This Edition reconstructs for the first time the structure of the autograph score, which reflects the collective contributions of at least five different hands: having composed only four entirely new numbers and repurposed another three from Sigismondo, Rossini relied upon collaborators and copyists for the remainder of the music. Della Seta's detailed examination of this fundamental document (housed at the Fondazione Rossini) together with an informed assessment of the secondary sources, including a complete manuscript copy (housed at the British Library in London), various manuscript vocal parts with Rossini's autograph interventions (housed in the Royal Conservatory of Brussels), and the first edition of the vocal score published by Ricordi between 1855 and 1859, additionally reveals how the libretto printed in Lisbon for that single historic performance in 1826 differed substantially from the narrative disposition of the autograph score, with ample cuts and modifications (among those the suppression of the Aria Alì and the addition of a Coro). While neither attributable to Rossini himself nor pertaining to his original conceptual design of the opera, this Coro, the music of which survives in the first vocal score, is included as an Appendix to the edition. / Niveau : Intermédiaire / Répertoire / Chant et Piano

This edition is based on the critical edition of The Barber of Seville edited by Patricia B. Brauner and published in 2008 as part of the series Works of Gioachino Rossini. But who needs a new critical edition of The Barber of Seville? The opera has been performed in theatres throughout the world since 1816 and has never been absent from the repertoire. There are two reasons for a critical new edition: firstly none of the early editions satisfy modern demands for a scholarly-critical edition. And secondly there is a wealth of previously unpublished material relating to this opera of great interest to both scholars and performers.Thusthe famous overture which Rossini had already used in his earlier opera Aureliano in Palmira differs noticeably from earlier editions in many places. The new edition enables performers to perform the overture either in its original scoring (as in Aureliano in Palmira) which includes two Flutes two Oboes and Timpani or in the scoring for the subsequent opera The Barber of Seville (with just one Flute one oboe and no Timpani).Urtext edition based on the series Works of Gioachino Rossini.All versions and transpositions are included in the appendix to the study score.Singing English translation in the vocal score.Takes into account all original sources including five manuscripts with Rossini’s autograph ornamentation.Takes into consideration the full extent of Rossini’s personal notational characteristics.Study score contains a detailed foreword (Eng/Ital)Full score (BA10506) critical report (BA10506-40) & study score (TP411) available for sale; performance material (BA10506-72) available for hire.

Par ROSSINI GIOACHINO. A collection of four duets by Rossini for Voice and Piano./ Répertoire / Chant et Piano

Par ROSSINI GIOACHINO. L'aria célèbre annonçant l'entrée du barbier - 'Figaro ... Eh, Figaro!' - Met en évidence cette bande dessinée se défouler d'un opéra. Sur la base de Beaumarchais Le Barbier de Séville, de Rossini 1816 classic a commencé comme Almaviva, ou la Précaution inutile, dans une tentative pour éviter la confusion avec un grand succès Il Barbiere di Siviglia d'un demi-siècle plus tôt. Un fiasco de la soirée d'ouverture et les interruptions persistantes lors de la première par les fans de l'ancien jeu n'étaient que momentanées détours sur le chemin de ce chef-d'oeuvre de renommée internationale. Avec l'ouverture aujourd'hui célèbre en place, le travail a atteint les capitales d'opéra du monde, devenant ainsi le premier opéra à être chanté en italien à New York. Idéal pour les conducteurs, les solistes, choristes, et les pianistes répétiteurs, cette pratique et le score de performance vocale est basé sur le classique 1900 édition Schirmer. S'il vous plaît noter que les paroles apparaissent dans la version originale en italien seulement./ Répertoire / Chant et Piano

Volume 1- Sez. Settima - Partitura + Commento Critico / Ed. Critica M. Tartak. Par ROSSINI GIOACHINO. Vol.1- Sez. Settima - Partitura + Commento Critico / Ed. Critica M. Tartak / Classique / Répertoire / Chant et Piano

Volume 2 - Sez. Settima - Partitura + Commento Critico / Ed. Critica R. Dalmonte. Par ROSSINI GIOACHINO. Vol.2 - Sez. Settima - Partitura + Commento Critico / Ed. Critica R. Dalmonte / Classique / Répertoire / Chant et Piano