VINCENZO BELLINI I Capuleti e i Montecchi Se Romeo t'uccise un figlio • GEORGES BIZET Carmen L'amour est un oiseau rebelle (Habanera) • Près des remparts de Séville (Séguedille) • Voyons, que j'essaie - En vain, pour éviter (Air des cartes) • GAETANO DONIZETTI Anna Bolena È sgombro il loco - Ah! parea che per incanto • La favorite Ô mon Fernand • Maria Stuarda Deh! tu di un'umile preghiera • Di un cor che muore - Ah! se un giorno da queste ritorte • GEMINIANO GIACOMELL Bajazet Sposa son disprezzata • CHRISTOPH WILLIBALD GLUCK Orfeo ed Euridice Che farò senza Euridice? • CHARLES GOUNOD Faust Faites-lui mes aveux • Roméo et Juliette Depuis hier - Que fais-tu, blanche tourterelle • GEORGE FRIDERIC HANDEL Alcina Sta nell'ircana pietrosa tana • Ariodante Dopo notte • Giulio Cesare Presti omai • PIETRO MASCAGNI L'amico Fritz O pallida, che un giorno • JULES MASSENET Werther Va ! laisse couler mes larmes • GIACOMO MEYERBEER Les Huguenots Nobles seigneurs, salut ! • CLAUDIO MONTEVERDI L'incoronazione di Poppea Addio, Roma • WOLFGANG AMADEUS MOZART La clemenza di Tito Parto, ma tu ben mio • Così fan tutte Ah, scostati - Smanie implacabili • Le nozze di Figaro Non so più cosa son • Voi che sapete • HENRY PURCELL Dido and Aeneas Thy hand, Belinda - When I am laid in earth • GIOACHINO ROSSINI Il barbiere di Siviglia Una voce poco fa • La cenerentola Nacqui all'affanno e al pianto - Non più mesta La donna del lago Tanti affetti in tal momento • L'italiana in Algeri Cruda sorte! • Maometto II Giusto ciel, in tal periglio • Semiramide Bel raggio lusinghier • CAMILLE SAINT-SAËNS Samson et Dalila Printemps qui commence • Samson, recherchant - Amour ! viensaider ma faiblesse ! • Mon cur s'ouvre à ta voix • JOHANN STRAUSS Die Fledermaus Ich lade gern mir Gäste ein (Chacun à son gout) • PYOTR IL'YICH TCHAIKOVSKY Pikovaya dama Da! Vspomnila... Podrugi milye • GIUSEPPE VERDI Un ballo in maschera Re dell'abisso, affrettati • Don Carlo O don fatale • Il trovatore Stride la vampa! • Condotta ell'era in ceppi • ANTONIO VIVALDI Orlando finto pazzo Anderò, volerò, griderò
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VINCENZO BELLINI I Capuleti e i Montecchi È serbata a questo acciaro • Il pirata Nel furor delle tempeste • I puritani A te, o cara • GEORGES BIZET Carmen La fleur que tu m'avais jetée • FRANCESCO CILEA L'Arlesiana È la solita storia del pastore... • GAETANO DONIZETTI Don Pasquale Com'è gentil • L'elisir d'amore Quanto è bella • Una furtiva lagrima • La favorita Favorita del re! - Spirto gentil • La fille du régiment Ah ! mes amis - Pour mon âme • Lucia di Lammermoor Tombe degli avi miei - Fra poco a me ricovero • Tu che a Dio spiegasti l'ali • UMBERTO GIORDANO Fedora Amor ti vieta • CHARLES GOUNOD Faust Salut ! demeure chaste et pure • GEORGE FRIDERIC HANDEL Alcina È un folle, è un vile affetto • EDOUARD LALO Le roi d'Ys Puisqu'on ne peut - Vainement, ma bien aimée • JULES MASSENET Manon C'est vrai...- En fermant les yeux o Je suis seul ! - Ah ! fuyez, douce image • Werther Toute mon âme - Pourquoi me réveiller • WOLFGANG AMADEUS MOZART Così fan tutte Un'aura amorosa • Don Giovanni Dalla sua pace • Il mio tesoro • Die Zauberflöte Dies Bildnis ist bezaubernd schön • GIACOMO PUCCINI La bohème Che gelida manina • La fanciulla del West Ch'ella mi creda • Gianni Schicchi Avete torto! - Firenze è comeun albero fiorito • Madama Butterfly Amore o grillo o Addio, fiorito asil • Manon Lescaut Donna non vidi mai • Tosca Recondita armonia • Turandot Nessun dorma! • GIOACHINO ROSSINI Il barbiere di Siviglia Ecco ridente in cielo o ente in cielo • La Cenerentola Sì, ritrovarla io giuro • Guglielmo Tell O muto asil del pianto • PYOTR IL'YICH TCHAIKOVSKY Eugene Onegin Kuda, kuda, kuda vy udalilis • GIUSEPPE VERDI Un ballo in maschera Di' tu se fedele • Rigoletto Questa o quella • Ella mi fu rapita! - Parmi veder le lagrime • La donna è mobile • La traviata Lunge da lei - Dei miei bollenti spiriti
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These operatic masterpieces for tenor and orchestra have captured the fancy of millions, not the least of whom is Andrea Bocelli. We have followed Mr. Bocelli's tastes and given you a superb collection of classics, sung by fantastic European tenor Miroslav Christoff, then you can learn them yourself with the Plovdiv Philharmonic as backup! Includes a printed vocal score on high-quality ivory paper, with informative liner notes; and a CD+G graphics-enabled compact disc with complete versions (with soloist) followed by stereo orchestral accompaniments to each piece, minus the soloist.
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Text from the Liturgy of the Roman Mass. Additional texts by Stephen Schwartz and Leonard Bernstein.
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Stage Works piano reductions
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One-act play, Op. 49b. Vocal/piano score. German/English language. Librettist: Peter Kien. English version: Sonja Lyndon. Revised by: Andreas Krause
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Preface • Tristan and Isolde • First Act: Introduction • (concert conclusion) • 1st Scene • 2nd Scene • 3rd Scene • 4th Scene • 5th Scene • Second Act: Introduction • 1st Scene • 2nd Scene • 3rd Scene • Third Act: 1st scene • 2nd Scene • 3rd Scene
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1842-1880 version based on the complete edition.
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Based on the Complete Edition.
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This beautiful piano reduction corresponds to the edition of the score of Siegfried contained in the critical Complete Edition of the musical works of Ricahrd Wagner edited by Klaus Döge and Egon Voss. It includes an introduction in English, German and French.
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Paperback edition with new art cover.
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In his piano works, Mompou showed himself to be a master of exquisite minature with a haunting intimacy. These qualities are no less true of his songs, which are relatively unknown. This beautiful, lyric music is in rather a 20th-century “salon” style, reminding the listener occasionally of Poulenc. 22 songs are included. Songs in French and Canadian.
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Reduction for voice and piano based on the critical edition. Includes historical introduction and critical commentary. 2 volumes.
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A second volume of bass-baritone operatic standards from great basso Ivajlo Djourov and the Plovdiv Philharmonic. Study Mr. Djourov's interpretations, then fashion your own with your own personal orchestra. Includes a printed vocal score on high-quality ivory paper, with informative liner notes; and a CD+G graphics-enabled compact disc with complete versions (with soloist) followed by stereo orchestral accompaniments to each piece, minus the soloist.
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Originally, A Quiet Place was a one-act opera in four scenes, performed after Leonard Bernstein's Trouble in Tahiti, to which it is a sequel. This revised version of A Quiet Place is a three-act opera that enfolds Trouble in Tahiti within its second act in two separate parts, as flashbacks.
Performance materials are available on rental from Boosey & Hawkes.
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After the Novel and Play by John Steinbeck
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Libretto by Hugo von Hofmansthal. Text in German & English
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An “earthquake/romance” in the style of a Shakespeare comedy. Libretto and lyrics by June Jordan.
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This new edition aims to present the correct text of the version arrived at during preparation and rehearsals for the first performance, this being the only version authorised by both the authors, composer as well as librettist. This definite text has been based on manuscript sources and early printed editions supervised by the authors.
Text in German and French
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With a colorful cover from Ricordi's Historical Archives, and an introduction in English, including a plot synopsis.
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This classic oratorio, premiered in 1938, has not had chorus parts in the original French text available for sale until this new release.
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Sid The Serpent Who Wanted to Sing, Malcolm Fox's first opera for children, was commissioned in 1977. Sid, the story of a snake from the circus who strikes out on his own to make it as a singer, was an immediate hit with audiences and critics alike, and is now one of the most widely performed operas in the U.S. and Australia. Scored for SATB, Piano and optional Drum-set backing.
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Many students only need a few opera arias in their vocal study. Selected Opera Arias extracts 10 arias useful to the typical voice student from the G. Schirmer Opera Anthology, with plot notes, translations and IPA, and combines them with the diction lessons recorded by top coaches in New York, and accompaniments recorded by coaches on staff at Lyric Opera of Chicago. The voice student gets a value priced, complete package for the very best instruction.
COSÌ FAN TUTTE: Un'aura amorosa • DON GIOVANNI: Dalla sua pace • Il mio tesoro • L'ELISIR D'AMORE: Quanto e bella • Una furtiva lagrima • EUGENE ONEGIN: Lenski's Aria • RIGOLETTO: La donna è mobile • LE ROI D'YS: Vainemant, ma bien-aimée • LA TRAVIATA: De' miei bollenti spiriti • DIE ZAUBERFLÖTE: Dies Bildnis ist bezaubernd schön.
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Mosè in Egitto (1818) is the fourth of the nine opere serie that Rossini composed for Naples between 1815 and 1822. As his letters to his mother show, Rossini was very proud of this opera, considering it an especially fine achievement that might appeal more to posterity than to the audiences of his day. In fact, it proved to be one of his most frequently performed opere serie. The present reduction for voice and piano, in two volumes, derives from the critical edition of the score, published by Fondazione Rossini Pesaro in collaboration with Casa Ricordi by Charles S. Brauner: the edition is based mainly on the autograph score now housed in the Bibliothèque nationale de France in Paris. This autograph score is complete but it is not completely autograph and many sections have offered some problems for the reconstruction of the text: the recitative in Act I and the Aria Mosè in Act II arenot by Rossini, the first five recitatives in Act II are not in Rossini's hand and may or may not be by Rossini, also not in Rossini's hand is the Aria Amaltea, although undoubtedly by Rossini because borrowed from his earlier opera Ciro in Babilonia. The Preface and the Critical Commentary offer for the first time some valid tools to reconstruct the entire history of the opera, since the first performance in Naples (1818, 1819) to the Parisian ones (1822 - 1840). In particular in the appendices are included the original Aria Faraone which, composed by Michele Carafa for the first two productions of the opera in Naples in 1818 and 1819, was later replaced by the Aria Faraone Rossini himself composed in 1820 and, in Appendix II, the new ending of the recitative following Duetto N. 3 which Rossini composed for one of the Parisian performances, after 1822.
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Vocal Score by Stravinsky
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