This masterpiece, composed by Erich Wolfgang Korngold when he was only 23, was one of the great stage successes of the 1920s and 30s before being removed from theatre schedules by the National Socialists. Rediscovered in the 1970s, it has enjoyed continuing popularity ever since. The libretto was compiled by the composer's father, the music critic Julius Korngold, writing under the pseudonym 'Paul Schott', a combination of the name of the protagonist and the publishing house.
A vivacious theatre group comes to liven up the gloomy city of Bruges (here, a symbol of death) and the widower Paul is forced to decide between the past and the present. Korngold was fascinated by this symbolic plot and created an iridescent orchestral score washed in vivid colours. A variety of operatic devices are intermingled as if viewed through a kaleidoscope: opulent melodic arias, advanced harmonies, psychoanalytic profundity and cinematic transitions oscillating between reality and dream worlds guarantee the continuing modernity of this work up to the present day.
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Kaija Saariaho's final opera, Innocence, was premiered at the Festival d'Aix-en-Provence in 2021 in a production directed by Simon Stone. Set at a wedding, the drama centres around the repercussions of a school shooting that took place ten years earlier. The Original Finnish Libretto was written by Sofi Oksanan, from which the opera's Multilingual Libretto was created by Aleksi Barrière. In this edition, the Multilingual Libretto is presented alongside an English translation by Aleksi Barrière and includes the cast list, full synopsis and notes on the presentation of surtitles.
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For his only opera Leonore/Fidelio, Beethoven wrote four overtures in total. Chronologically, the so-called Leonore Overture no. 3 is the second of the series and perhaps the most performed of all Beethoven's overtures. During his own lifetime, it was heard not only in the theatre, but also in concert, thereby establishing with the Coriolan and Egmont overtures the new genre of the concert overture. Recognized around the middle of the nineteenth century as a masterpiece, it went on to become the “declared favorite of all orchestras,” as Beethoven biographer Anton Schindler testifies. It now appears as a study score based on the musical text of the Beethoven Complete Edition, with its own specially prepared foreword.
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The expanded new edition includes the parts of Offenbach's probably most popular work that have become accessible since 1999. The quartet La Barque à Caron (Charon's Boat), the entr'acte for scene 3 as well as two versions of the finale of scene 3 and finally the couplets of Amphitrite have been rescued from oblivion - numbers of both musical and scenic relevance which complete the widely performed, award-winning edition of Orphée aux Enfers as part of the Offenbach Edition Keck. Access to the critical report and further text and material is facilitated by replacing the previously separate CD-ROM supplement with online links. Indispensable for study and performance! Text is in French and German.
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Featuring a libretto by Christopher Hampton, the opera is based on Franz Kafka's classic surreal tale of a man arrested by an unknown authority for an unspecific crime.
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Note from the composer: Jackie O is a celebration of musical life in the late sixties, a pop opera that explores the interplay of musical idioms associated with “high” and “popular” culture in America. To compose these various idioms into my musical language, I draw on my background as a musician who came of age during the sixties, playing in rock and jazz ensembles, performing in avant-garde improvisation groups, and paying my dues as a cocktail pianist in nightclubs, while also being trained as a composer of concert music in the symphonic tradition. –Michael Daugherty
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The edition offers a critically sound reading, based on the original sources, of Giuseppe Verdi's Les vêpres siciliennes. It restores the poetic and musical text of the first performance, which took place at the Théâtre de l'Académie Impériale de Musique in Paris on 13 June 1855. This edition features a reduction for voice and piano.
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Beethoven wrote a total of four overtures for his only opera, “Leonore”/“Fidelio”. The so-called Leonore Overture no. 1 is third in the series by chronology, having been written in 1806/07 for a performance in Prague that never materialised. For a long while it was erroneously regarded as a predecessor to the Leonore Overture no. 2 that Beethoven discarded, which greatly tarnished its reception. And yet it pays off to take an impartial look at this overture, which is substantially shorter than nos. 2 and 3, since with its more lyrical than dramatic character, it casts a new light on Beethoven's struggle to find the ideal opening to his stage work. Featuring a new preface, it now appears as a study edition prepared on the basis of the musical text of the Beethoven Complete Edition.
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Composed for large orchestra between 1985-87 and not premiered until 2014 by the BBC Scottish Symphony Orchestra. 'Keening' is a form of vocal lament and mourning.
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York Höller's epoch-spanning sound panorama allows to experience the multiple layers of Bulgakov's novel with all senses: the crazy magic of the devil's pack, the crime-and-punishment theme revolving around Jesus and Pilate, the satanic Walpurgis Night ball - and finally a love than moves mountains.
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Music by David Nield, Book and lyrics by Jeremy James Taylor. Sir Francis Drake lives in this light-hearted, decidedly unhistoric romp. Presented in the style of English pantomime, Drake tells the story of the legendary sea captain of the Golden Hind who is credited with circumnavigating the globe, defeating the Spanish Armada and-at least according to this musical charmer-romancing Queen Elizabeth I.
Libretto.
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Based on the stage play Compleat Female Stage Beauty by Jeffrey Hatcher, Prince of Players is the tale of Restoration-era actor Edward Kynaston, heralded as the greatest portrayer of female characters in a time when only men were permitted onstage.
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Vocal score with French and English sung text.
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The Left-Hander - a popular Russian grotesque about Russian and Englishmen, new technologies, old traditions and hard liquor - in the form of a two-act opera. MORE»
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Bozena Nemtsova is one of the foremost Czech authors of the 19th century and among the greatest storytellers, with her treasure trove of fairy tales. Her stories also enjoy great popularity in Russia: The Twelve Months translated by Nikolai Leskov, provides the basis for Rodion Shchedrin's opera, A Christmas Tale. With traces of familiar fairy tales such as Cinderella and Snow White, the story tells of a beautiful, hardworking but unloved stepdaughter and her search for a violet in the snow. Ultimately she receives help from the months of the year and her kindheartedness is rewarded.
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Bozena Nemtsova is one of the foremost Czech authors of the 19th century and among the greatest storytellers, with her treasure trove of fairy tales. Her stories also enjoy great popularity in Russia: The Twelve Months translated by Nikolai Leskov, provides the basis for Rodion Shchedrins new opera, A Christmas Tale. With traces of familiar fairy tales such as Cinderella and Snow White,the story tells of a beautiful, hardworking but unloved stepdaughter and her search for a violet in the snow. Ultimately she receives help from the months of the year and her kindheartedness is rewarded.
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| List | $81.00 |
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Gerald Barrys new opera is based on Lewis Carrolls two beloved books, Alice's Adventures in Wonderland and Through the Looking Glass. As with Barry's last opera, the lauded The Importance of Being Earnest, the composer has created the libretto himself from the authors original texts. Thus, the work remains faithful to many aspects of the Alice story but is trimmed and compressed into acompact 70-minute opera in one act. Barry's characteristic highspeed energy and riotous sense of humour propel the action forward in this surreal plunge into the depths of Wonderland. MORE»
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SYNOPSIS
Aribert Reimann's 'Trilogie lyrique' is based on three plays by Maurice Maeterlinck:
In L'Intruse, a family is sitting at the table with their blind grandfather. They are waiting for the doctor to arrive and tend to his daughter who is lying ill in bed after having given birth: her new-born son has not yet made a single sound. The old man senses that something is wrong due to the uneasy atmosphere in the room. “Who is sitting in our midst?” he asks. He is the only one who cansee the presence of death.
Intérieur: Once again a family is gathered round the table in the evening, but this time we observe the action from outside, looking through the window with the grandfather and a stranger: no sound can be heard. Outside the house, the stranger reports that the eldest daughter has drowned and that he has pulled her out of the river. Although the corpse is already being carried through the village to the family, the grandfather cannot bring himself to destroy this idyll.
La Mort de Tintagiles: The young Tintagiles is told a story about a mysterious castle and the aged queen who has all potential heirsto the throne murdered. His siblings sense that Tintagiles has been summoned to the castle to be murdered, but nobody openly expresses this fact. It is the sinister messengers of death from the interludes, now visible as the queens servants, who ful?l her demand and snatch the sleeping boy from his sisters'arms.
Commentary
'In comparison with his Medea for example with its stormy outbreaks of emotion and violence, Reimann's score is worked in an impressive refinement of sound. It begins with rumbling, hesitating and expressive music in the first section, demanding highly ingenious sound effects from the lower strings including tapping and faltering glissandos in its noisy expression of mortal fear. Inthe second part, the woodwind formation plays at times almost in chamber music fashion and is then suddenly painfully shrill. The third part luxuriates and rages in its rich, full orchestration. The manner in which Reimann displays his mastery in textural shading, the invention of sounds welling up and fading away, the rhythmic and melodic capacity of suffering and the music's inner violence are all utterly compelling.'(Wolfgang Schreiber, Opernwelt, November 2017)
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Das Erbe deutscher Musik' (The Heritage of German Music) continues the tradition of the various German Denkmäler series. It publishes important works from the history of German music in editions that are critical and at the same time practical. 'Das Erbe deutscher Musik' was established in 1933 in the traditions of the 'Denkmäler deutscher Tonkunst' (1892-1931) and resumed in 1953 by the Musikgeschichtliche Kommission e.V. 'Das Erbe deutscher Musik' is published by various publishers as a main series with ten sections and a special series.
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