Rigoletto (Vocal Score)

Remarquable pour sa caractérisation gras, la couleur, l'atmosphère, et l'intrigue dramatique, Verdi Opéra en 1851 fut un succès immédiat lors de ses débuts à Venise, et il reste un aliment de base du répertoire jusqu'à ce jour. L'histoire d'un bossu méprisé et sa fille bien-aimée a marqué la première apparition du bouffon tragique de l'opéra italien et à condition de Verdi avec un sujet bien adapté à ses talents.Artistes amateurs et professionnels apprécieront ce beau, pratique et à prix modéré édition performance de partition vocale de l'opéra. Idéal pour étude, les répétitions et les considérants, il contient de la musique complète pour voix avec une réduction pour piano de la partition vocale. Paroles apparaissent dans la version originale en italien seulement.Réimpression de l'Ricordi G., Milan, c. 1851 édition. / Voix Et Piano

vocal score, based on critical edition. Par VERDI GIUSEPPE. Giuseppe Verdi 's Rigoletto. Italian/English opera vocal score./ Répertoire / Chant et Piano

Giuseppe Verdi's Il Trovatore was based on a play by Gutierrez adapted by Salvtor Cammerano. Although the critics may complain about its lack of subtlety - it is filled with exactly the kinds of twists and unlikely coincidences that form the modern jokey stereotype of opera - 'Il Trovatore' will always be an audience favorite because of its wealth of great music. Verdi was stirred to the height of his inspiration by this work and from its premiere it was an even greater success than its predecessor 'Rigoletto'. The importance of Verdi's 'Il Trovatore' lies in its music; it displays some of the most ingratiating and beautiful melodies he ever wrote. This edition ofthe Vocal Score is in Italian with an English translation by Natasha McFarren and an essay by E. Irenaeus Stevenson.

Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte. 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.