Real Book 100 Works. 100 Greatest Opera, Ballet and Classical Masterpieces are included in this Real Book for C Instruments. Sheet music with melody line, chords and lyrics - to sing and play the best of Opera and Classical Music. Features works from Verdi, Puccini, Offenbach, Bellini, Wagner, Ponchielli, Mozart, Rossini, Catalani, Bizet, Massenet, Leoncavallo - G. Donizetti, C ajkovskij, Albinoni, Bach, Gounod, Schubert, Pachelbel, Debussy, Brahms, Grieg, Rimskij-Korsakov, Beethoven, Vivaldi,Paganini, Strauss (Senior), Mendelssohn, Boccherini, Chopin and Händel. / Opéra-opérette / Recueil / Voix

Référence unique par son ISBN 73999074383 cette partition musique de Donizetti Gaetano n'est autre que Donizetti Fille Du Regiment Opera Libretto qui a été composée pour Voix. 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 HL50340580. / Voix / 42 pages / Partition

A major dramatic work for children published for the first time. This is an exciting opera for schools community groups and professional companies to perform exploring universal issues of tolerance love and friendship communication and language.

Miss Fortune by British composer Judith Weir is a contemporary re-telling of a Sicilian folk story. Tina’s wealthy family lose all their possessions overnight and she is thrown into a life ofpoverty. When her life’s course turns from bad to worse she makes a date with Fate. Her fortunes mysteriously change and after several fortuitous happenings she regains wealth and possibly a husband.The opera exploreswhat it means to be rich or poor; the mysteries of everyday life; and the effects of chance luck and accident on human existence.Miss Fortune had its premiere at the Bregenz Festival in summer 2011.

Ottone HWV 15; Opera in three acts.Version of the first performance 1723.Handel completed his opera ?Ottone? in August 1722 but the first performance did not take place until January 1723 in the Haymarket Theatre London; the composer had waited so long for the famous soprano Francesca Cuzzoni who he had in mind for the role of Teofane.?Ottone? was an immediate success from the beginning not only for its top-class cast but also because of its formal and musical structure. It received numerous revivals until 1733.Stylistically ?Ottone? follows in the Neapolitan operatradition with emotionally charged arias as the principal vehicles of expression whilst the plot is carried forward in the secco recitatives.The dramatic action is interpreted and intensified through the choice of arias and keys.The Vocal score is based on volume II/12 of the ?Halle Handel Edition? (BA 4077) which contains the complete critical musical text of the opera for the first time.- First critical edition based on the Urtext of the Halle Handel Edition.- Additional numbers from later performances included in the appendix.- Foreword (Ger/Eng).- Full score (BA4077) & Vocal score (BA4077-90) available for sale.- Performance material (BA4077-72) available for hire.

Par MC NEFF STEPHEN. My research for Banished began with a small group of students during a Trinity Laban co-lab period in 2013, though the idea goes back over 30 years when I first saw Steve Gooch’s Female Transport and stored the idea of adapting it as an opera until the right opportunity arose. I have been involved in opera for a long time and it has always been a frustration for me that while there is an abundance of female talent (particularly so in conservatories and colleges) there is a noticeable lack of challenging roles available for young women. The roles most often undertaken are maids or innocent girls, compliant wives or tomboys. Not that the problem is necessarily confined exclusively to young women, but where good roles exist, the women are all too often merely passive or victims. Things happen to them rather than them making things happen. They are unable to influence their circumstances and are usually resigned to their fate. Worse still, they are often judged in some way responsible for what happens to them, culpable even because of their looks, their way of life or a streak of independence. Just think about Mimi, Carmen and Violetta (to name only three on a long list). All these characters die, and their attempts at individuality contribute to their demise in some way that they have no control over. With some exceptions female characters in opera are too often sad, mad or bad. Redressing this balance and taking advantage of the richness in vocal talent is only one reason to write an opera reflecting the reality of a group of strong women who work things out for themselves. The transportation of people to Australia at the beginning of the nineteenth century is not a particularly well understood part of history beyond a sort of folk myth. What were the circumstances, who were the people and what happened to them? Opera does not exist to completely answer these questions, but it can focus on the women as individuals and help tell their story. (All the women named in the opera actually existed.) My approach has to been to put the women’s narrative centre stage and, in the confines of an oppressive, dangerous environment go with them on their journey as they survive or sink. The demands on the women are huge. At every turn they are oppressed by their jailers, the system that brought them here and their own low expectations. They have to work out ways to overcome these odds. We discover them through their music in solos and ensembles, sometimes reflective, at other times boasting about their lives a petty criminals and trying to establish status and pecking order. Alongside this I have used references to music of the time to create another reality built on larger ensembles and choruses. This is a sort of collective consciousness aware of loss, longing and context – even of a broad political dimension to the realities of Transportation. Despite the acute awareness of their circumstances in these ensembles, there is also a resilience and strength that transcends the individual stories. Stephen McNeff / Instrumental Music / Répertoire / Voix

Par FAGERLUND SEBASTIAN. Based on the film by Ingmar Bergman, Sebastian Fagerlund’s Autumn Sonata follows Charlotte Andergast, a celebrated concert pianist, as she visits the country home of her adult daughter, Eva. Charlotte has not seen Eva for seven years, during which time Eva and her husband Viktor have lost their three-year-old son Erik. Eva’s sister, Helena (Charlotte’s daughter), had been held in an institution but now (unbeknownst to Charlotte) lives with Eva and Viktor. Charlotte brings with her her need for adulation, imagining the chorus as an admiring concert audience applauding her every decision. When the family members converge under one roof after years of separation, they begin to delve into the past and old wounds?despite their good intentions?are reopened. Autumn Sonata was commissioned by the Finnish National Opera and premiered in Helsinki on 8 September 2017 with the Finnish National Opera Orchestra and Chorus conducted by John Storgårds. The direction and set design was made by Stéphane Braunschweig and the premiere cast included Anne Sofie von Otter, Erika Sunnegårdh, Helena Juntunen, Tommi Hakala and Nicholas Söderlund. / Instrumental Music / Répertoire / Voix

A One-Act Opera for Young People-A One-Act Opera for Young People. From the composer of the classic Amahl and the Night Visitors comes this delightful musical fable about an immense 9-year-old new kid in town Poponel Skosvodmonit. Perfect for school or familyaudiences.

Igor Stravinsky's Renard is a one-act opera that tells a burlesque tale of a devious fox who deceives a number of other animals. This corrected and revised edition of the Vocal Score is edited by Millan Sachania.Renard was composed in 1916 after being commissioned by socialite Winaretta Singer. The lyrics of the work are in Russian, Russian transliteration and French. Renard is often seen by critics as a satire, either on political or religious themes, with Renard the fox and the other farmyard animals symbolising key figures of authority at the time. The premiere was staged in Paris in 1922 by the Russian ballet, to great national and international attention.Stravinsky's brilliant work for Ensemble and Voices is now available in Vocal Score format. Pick it up today for an unusual opera-ballet with interesting historical and political undertones. / Opéra

from the opera A Streetcar Named Desire based on the play by Tennessee Williams-From the wonderful new American opera A Streetcar Named Desire (based on the unforgettable Tennessee Williams play). Most notably recorded by Ren?e Fleming. For soprano voice and piano.

Par COLL FRANCISCO. Inspired by the darkly surreal world of Franz Kafka, Francisco Coll's first chamber opera is an explosive gem. Taking its cue from Meredith Oakes' punchy, cleverly-assembled libretto, this dazzling score brings out every nuance of the bizarre scenario's comedy, irony and profundity./ Répertoire / Voix

G F Handel (1685-1759) was a German-born British composer and organist who spent his life working in London. He is credited with popularising opera and oratorio in Britain both importing Italian works and composing his own. Twelve Songs From The Oratorios have been edited by Alberto Randegger and are scored for Baritone or Bass with Piano accompaniment. It contains 12 airs from popular works such as Messiah Judas Maccabaeus and Samson and 8 of their associated recitatives. This is the perfect collection for any Bass or Baritone looking to expand their repertoire or for any Handel fan who wants todiscover more of his songs. 

The same singing technique the pros use is now available to you! In the world of show-business where time is money Seth Riggs is the man professionals turn to for results. He has worked with some of the biggest names including Stevie Wonder Luther Vandross and Michael Bolton. You will learn how to sing with a strong clear and flexible voice over a range that you never dreamed possible. No matter what style of music you sing - pop rock gospel or opera Seth Riggs's method of voice training is the proven to bring fantastc results. Includes two professionally recorded CD's of exercises instructions and practice. A great teacher is able to direct a singertoward a healthier more extensive use of his voice without losing that special quality that sets him apart Seth Riggs is such a teacher. His assistance on my albums Thriller Bad Dangerous and HIStory confirmed my confidence in his approach. Michael Jackson.