The Voice of the Bard

Howard Shore: The Hobbit - Desolation Of Smaug features music from the epic movie The Hobbit: Desolation Of Smaug composed by Howard Shore and arranged for Piano and Voice. The secondinstallment in a three-part film adaptation based on the novel of the same name by J. R. R. Tolkien. It starred Ian McKellen Martin Freeman and Benedict Cumberbatch and was the fourth highest grossing film in 2013.Includesa four page colour picture section from the film.

Like many composers who found themselves in exile during the war years Castelnuovo-Tedesco composed in a very neoclassical and neoromantic style reviving more traditional or antiquated ideas of melody tonality and texture. Hiscollection of Shakespeare Songs feature settings of verse from across the full range of the Bard's plays and have proved to be great critical successes still widely performed today. Suitable to be adapted by most voices.the songs are interwoven with complex and thrilling Piano accompaniments that bring colour and energy to the often liberally edited texts.Book five contains three songs adapted from Othello A Winter's Tale andThe Merry Wives Of Windsor.

Like many composers who found themselves in exile during the war years Castelnuovo-Tedesco composed in a very neoclassical and neoromantic style reviving more traditional or antiquated ideas of melody tonality and texture. Hiscollection of Shakespeare Songs feature settings of verse from across the full range of the Bard's plays and have proved to be great critical successes still widely performed today. Suitable to be adapted by most voices.the songs are interwoven with complex and thrilling Piano accompaniments that bring colour and energy to the often liberally edited texts.

Like many composers who found themselves in exile during the war years Castelnuovo-Tedesco composed in a very neoclassical and neoromantic style reviving more traditional or antiquated ideas of melody tonality and texture. Hiscollection of Shakespeare Songs feature settings of verse from across the full range of the Bard's plays and have proved to be great critical successes still widely performed today. Suitable to be adapted by most voices.the songs are interwoven with complex and thrilling Piano accompaniments that bring colour and energy to the often liberally edited texts.Book seven contains three songs adapted from Love's Labour Lost and Hamlet

Like many composers who found themselves in exile during the war years Castelnuovo-Tedesco composed in a very neoclassical and neoromantic style reviving more traditional or antiquated ideas of melody tonality and texture. Hiscollection of Shakespeare Songs feature settings of verse from across the full range of the Bard's plays and have proved to be great critical successes still widely performed today. Suitable to be adapted by most voices.the songs are interwoven with complex and thrilling Piano accompaniments that bring colour and energy to the often liberally edited texts.

Like many composers who found themselves in exile during the war years Castelnuovo-Tedesco composed in a very neoclassical and neoromantic style reviving more traditional or antiquated ideas of melody tonality and texture. Hiscollection of Shakespeare Songs feature settings of verse from across the full range of the Bard's plays and have proved to be great critical successes still widely performed today. Suitable to be adapted by most voices.the songs are interwoven with complex and thrilling Piano accompaniments that bring colour and energy to the often liberally edited texts.Book six contains three songs adapted from Tinon Of Athens Cymberline andOthello.

Like many composers who found themselves in exile during the war years Castelnuovo-Tedesco composed in a very neoclassical and neoromantic style reviving more traditional or antiquated ideas of melody tonality and texture. Hiscollection of Shakespeare Songs feature settings of verse from across the full range of the Bard's plays and have proved to be great critical successes still widely performed today. Suitable to be adapted by most voices.the songs are interwoven with complex and thrilling Piano accompaniments that bring colour and energy to the often liberally edited texts.Book eleven contains four songs adapted from The Tempest

Hear The Voice Of The Bard was commissioned by King’s College Cambridge and first performed on Christmas Eve 2013 at A Festival of Nine Lessons and Carols by the Choir of King’s College Cambridge conducted by Stephen Cleobury.Expertly composed by Thea Musgrave Hear The Voice Of The Bard is a setting of the William Blake poem Hear the voice of the Bard (1794).

POD-Julian Marshall's The Voice Of The Ancient Bard is a work for Unaccompanied SATB Choir that sets a poem by William Blake from 'Songs of Experience'. A performance lasts around 3 and a half minutes.

Like many composers who found themselves in exile during the war years Castelnuovo-Tedesco composed in a very neoclassical and neoromantic style reviving more traditional or antiquated ideas of melody tonality and texture. Hiscollection of Shakespeare Songs feature settings of verse from across the full range of the Bard's plays and have proved to be great critical successes still widely performed today. Suitable to be adapted by most voices.the songs are interwoven with complex and thrilling Piano accompaniments that bring colour and energy to the often liberally edited texts.This edition contains Epithalamium from The Tempest alongside a NuptialMarch for Piano solo.

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 Dramatique

Ed. critica di Paolo Fabbri - Riduzione per canto e pianoforte-Vocal score based on the critical edition of the orchestral score edited by Paolo Fabbri 2 volumes. Donizetti?s Anna Bolena premiered at Milano?s Teatro Carcano during Carnival season 1830-31 is considered the composer?s first major success inserious opera which brought him to the attention of all Europe. In terms of production in Italy he was an anomaly in that he remained actively involved in the evolution of his works and the performances of them and went on making modifications tothose works. Written expressly for the interpretative and vocal talents of great singers like Giuditta Pasta and Giovan Battista Rubini the historically-based ?lyrical tragedy? by librettist Felice Romani is a classic of Lombard Romanticism. Thepresent reduction for voice and piano derives from the critical edition of the score recently published in this catalog: is based on the autograph score (housed in the Ricordi Archives in Milan) on the libretto for the premiere on the first vocalscores printed editions (Lucca and Ricordi in Milan and Marquerie Frères in Paris) and additional manuscript scores with autograph additional notes (housed in Naples and Rome). This edition presents for the first time all the music composed byDonizetti in particular the sections crossed out or replaced either immediately before or after the first performances. There is also a synthetic reconstruction of the birth of Anna Bolena with a description of sources and a selection of theCritical Notes from the full score edition.