Search Results: Opera scores from Serenissima Music, Inc.

Verdi received a request in November of 1869 from the Viceroy of Egypt to compose a commemorative hymn for the opening of the Suez Canal. Verdi refused the request on the grounds that he was not accustomed to writing such ceremonial music. The Viceroy then perusaded French Egyptologist Auguste Mariette, who wrote a scenario set in ancient Egypt drawn partially from Metastasio's 1756 libretto for "Nitteti", to visit Paris in order to introduce him to the theatre producer Camille Du Locle, with the goal of mounting a new opera based upon Mariette's scenario with music from either Verdi, Gounod or Wagner. Although considering a new opera, Verdi had no intention of taking on the Egyptian scenario but changed his mind when Du Locle himself showed him the outline.
With an Italian libretto by Antonio Ghislanzoni, the new opera was first performed at the Khedivial Opera House in Cairo on December 24, 1871 to an audience consisting of only politicians, dignitaries and critics. Verdi did not attend the premiere… Read More

Rachmaninov's first one-act opera was written in 1893 while still a student at the Moscow Conservatory. The opera, with a libretto by Vladimir Nemirovich-Danchenko after a play by Alexander Pushkin, was given its premiere in May 1893 at Moscow's Bolshoi Theatre. Rachmaninov's characteristic writing is already apparent, complete with the colorful orchestration that was a hallmark of his compositional style. This score is a digitally enhanced reprint of the one first issued by Muzgiz (the USSR State Publisher) in the 1950s.
Introduction
Gypsy Chorus
Old Gypsy's Story
Scene and Chorus
Women's Dance
Men's Dance
Chorus
Duettino
Scene by the Cradle
Aleko's Cavatina
Intermezzo
The Young Gypsy's Romance
Duet and Finale

1. Preludio


Prologue


2. Introduzione. Urli, rapine, gemiti, sangue
3. Scena e Cavatina di Odabella
4. Duetto di Attila ed Ezio
5. Scena e Cavatina di Foresto


Atto I


6. Scena e Romanza di Odabella
7. Scena e Duetto di Odabella e Foresto
8. Scena e Aria di Attila
9. Finale I


Atto II


10. Scena e Aria di Ezio
11. Finale II


Atto III


12. Scena e Romanza di Foresto
13. Terzetto
14. Quartetto finale

STTBBB soli, Mixed chorus / Piano

In the wake of Georges Bizet's untimely death in 1875, his longtime friend Ernest Guiraud (1837-1892) arranged two orchestral suites taken from the French master's final work, the opera Carmen. The two suites were compiled between 1880 and 1882. Guiraud selected five items for the first suite: Prélude, Aragonaise, Intermezzo, Les Dragons d'Acala and Final (Les Toreadors) which was published by the Paris firm Choudens. The first suite's orchestration little changed from that found in the corresponding numbers of the opera in Guiraud's score.

Around 1906, the German conductor Fritz Hoffmann orchestrated the Séguidille for the publication of his edition first suite by the Leipzig publisher Breitkopf und Härtel. Hoffmann's orchestral setting departs substantially from the composer's own orchestration in the opera. For this new edition, Clark McAlister has provided a new orchestration of the famous Séguidille in which the vocal line is given to English horn while Bizet's own orchestration is largely… Read More

Purcell's 1680 masterpiece is presented here in digitally enhanced reissue of a vocal-piano edition prepared by the eminent English musicologist Wiliam Hayman Cummings that was first issued by Novello in 1887.
Overture
Solo and Chorus: Shake the Cloud
Song: Ah! Belinda
Recitative: Grief Increases
Chorus: When Monarchs Unite
Recitative: Whence Could so Much Virtue Spring
Duet and Chorus: Fear No Danger
Recitative: See Your Royal Guest
Chorus: Cupid Only
Recitative: If Not for Mine
Air: Persue Thy Conquest
Chorus: To the Hills and the Vales
The Triumphing Dance
Prelude for the Witches
Chorus: Harm's Our Delight
Recitative: The Queen of Carthage
Chorus: Ho! Ho! Ho!
Recitative: Ruin'd Ere the Set of Sun
Chorus: Ho! Ho! Ho!
Duet: But, Ere We this Perform
Chorus: In Our Deep Vaulted Cell
Echo Dance of Furies
Ritornelle
Song and Chorus: Thanks to These Lonesome Vales
Song: Oft She Visits
Recitative: Behold, upon My Bended Spear
Song and Chorus: Haste to Town
Recitative: Stay, Prince… Read More

Berlioz' operatic masterpiece is now performed regularly in concert halls worldwide, despite the poor reception received at it Paris premiere in 1846. This is a new, digitally-enhanced, corrected reprint of the score originally issued in 1911 by Costallat & Cie., Paris. Charles Malherbe prepared the piano reduction to serve as a companion vocal score for the full score issued as part of the Berlioz Complete edition - ultimately left incomplete thanks in part to Malherbe's passing in the very year this score was issued. This very readable A4-sized vocal score will be appreciated by performers, students and Berlioz aficionados everywhere.

STBB Soli, Chorus / Piano

Berlioz composed his tremendous "Legende dramatique" in 1845-46, largely creating his own libretto after Gerard de Nerval's French translation of the famous Faust story by Goethe. The composer produced the dramatic oratorio at his own expense for the premiere on December 6, 1846 at Paris' Opera-Comique. Despite critical acclaim, the performance was not well-attended - a major financial setback for the composer. This new study score is a digitally-enhanced reprint of the score issued in 1907 by Breitkopf & Hartel as part of the projected Berlioz Complete Works, edited by Charles Malherbe and Felix Weingartner.

STBB Soli, Chorus / Orchestra (3d3, 2d2, 2+1, 4 - 4, 2+2, 3, 2, timp, perc, 2hp, str, banda)

Debussy's sole completed opera was given its premiere at Paris' Opera Comique on April 30, 1902. It was the culmination of an eight-year effort on the composer's part. Though not an immediate sensation like Puccini's "Madame Butterfly" two years later in Milan, the five-act lyric drama, after the identically titled play by Maeterlinck, enjoyed a successful run in the first two decades of the 20th century. Debussy's masterpiece of orchestral color is presented in a new, digitally-enhanced reprint of the full score first issued by E. Fromont, Paris, in 1904 which was corrected and revised in 1907. In contrast so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable, is beautifully printed on off-white stock with a quality cover.
Acte I
Scene 1. Une foret
Scene 2. Un appartement dans le chateau
Scene 3. Devant le chateauActe II
Scene 1. Une fontaine dans le parc
Scene 2. Un appartement dans le chateau
Scene… Read More

At last, an extraction of just the choruses for this perennial Gilbert and Sullivan classic - from the authoritative edition of the vocal score prepared by Ephraim Jones and Carl Simpson.

The Polovtsian Dances from Borodin's Prince Igor consist of two numbers from the opera's second act (Nos.8 and 17). The first Dance is the 'Dance of Polovtsian Maidens' while the remaining of the dances come from the second act finale. Borodin worked sporadically for almost 18 years on Prince Igor but it was left in an incomplete chaotic state upon his death in 1887. The dances here were orchestrated by Nikolay Rimsky-Korsakov for an 1879 concert performance and subsequently revised by him after the opera's publication in 1888.
This newly engraved edition by Richard W. Sargeant, Jr. has been meticulously researched from authoritative sources so that Borodin's masterful dances are available for the enjoyment of professionals and amateurs alike. Sargeant's edition is of the concert version for orchestra alone as opposed our other superb edition (for chorus and orchestra) by Clinton F. Nieweg and Nancy M. Bradburd.
1. Dance of the Polovtsian Maidens (No.8 of opera)
2. Dances of the Polovtsii (No.17 of… Read More

The Polovtsian Dances from Borodin's opera Prince Igor consist of two numbers from the opera's second act. The first (No.8 in the opera) is the 'Dance of Polovtsian Maidens' while the remaining dances are taken from the second act finale (No.17). Borodin worked sporadically for almost 18 years on Prince Igor but it was left in an incomplete chaotic state upon his death in 1887. The dances here were selected and partially orchestrated by Nikolay Rimsky-Korsakov for an 1879 concert performance and subsequently revised by him after the opera's publication in 1888.

This newly engraved edition by Clinton F. Nieweg and Nancy M. Bradburd has been meticulously researched from authoritative sources so that Borodin's masterful dances are available for the enjoyment of professionals and amateurs alike. This edition differs from the one by Richard W. Sargeant in that it is drawn directly from the opera and includes the parts for chorus, while Sargeant's is for orchestra alone. The large conductor's score and… Read More

Composed in 1839, Romeo et Juliette is a unique work which straddles the opera and symphonic genres. Berlioz himself used the term "Symphonie dramatique" to characterize it. With three vocal soloists and a triple chorus accompanied by large orchestra, the number of vocal soli is less than what was normally employed for operas of the era and is closer to the forces employed by Beethoven in his Symphony No.9. Much of the drama is supplied by Berlioz's exquisite orchestral writing, elevating the orchestra to a full participant in the unfolding drama of the classic Shakespeare tragedy - in a French adaptation by Émile Deschamps. The work was given its premiere on November 24, 1839 in Paris at the Conservatoire, with voices, chorus and orchestra conducted by the composer.

The present vocal score is a digitally restored reissue of the one prepared by Richard Kleinmichel in 1901 to coincide with the complete edition of Berlioz's work under the joint editorship of Charles Malherbe and Felix Weingartner by… Read More

Premiered in 1867, "Romeo et Juliette" was composed to a libretto by Jules Barbier and Michel Carre based upon the Shaespeare play. Apart from "Faust", it stands as Gounod's most popular opera. This chorus score, with the standard piano reduction by Hector Salomon, is a digitally-enhanced reprint of the choral movements from the vocal score issued by G. Schirmer in 1897 with an English translation by Dr. Theodore Baker beneath the original French.
Overture and Prologue
1. The Capulets' Ball
1b. Scene
2b. Recitative and Scene
5. Finale, Act I
6. Entracte and Chorus
8. Scene and Chorus
13. Finale, Act III
18. Epithalamium
19. Finale, Act IV

The Serenade was Herbert's second success on the Broadway stage. It was premiered at the Knickerbocker Theatre on March 16, 1897 by 'The Famous Bostonians' and enjoyed several revivals in the early 20th century. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. The score is beautifully printed at its original size on off-white stock with a quality cover.