Silence! Singers at Work : A singer's sketchbook

Silence! Singers at Work is a wry collection of drawings about the everyday experiences of singers. Anyone who sings, or has sung, whether on the world’s greatest opera stages or in the local choir, will instantly relate to the illustrations. Internationally-acclaimed opera singer and recitalist Joyce DiDonato has collaborated with the author on the drawings and has written a preface to the book. Silence! Singers at Work makes a perfect gift for anyone who is, or who knows, a singer.

Eine Kleine Nachtmusik K.525

Mozart’s ever popular Eine Kleine Nachtmusik K.525 is a firm favourite in the orchestral repertoire and is available here for Piano Duet. This arrangement, by Otto Singer, will give you great enjoyment as you play throughthe melodies of this Serenade in this simplified, yet challenging, version.

Symphony No.5 In C Minor Op.67

Beethoven's famous fifth symphony is a classic in the orchestral repertoire and is available here for Solo Piano. This arrangement, by Otto Singer, gives you the opportunity to play the famous melodies of this symphony, startingfrom the very outset with the dramatic motif which is instantly recognisable. This version will provide an enjoyable challenge for the advancing pianist.

Sinfonia da chiesa

Metodo Pratico - Medium Voice

This excellent singing tutor presents 15 lessons, all designed to teach the singer both vocal exercises and the use of the Italian language. It has long been thought that the Italian language is best suited to the art ofsinging, and in this edition, rather than use meaningless monosyllables, Vaccai has set Metastasio's beautiful poetry to each exercise.The lyrics to this 'practical voice method' are in Italian, with German singingtranslation by John Bernhoff.

Three Viola Da Gamba Sonatas

Everlasting Voices (Medium High) : Selection of Songs within Comfortable Range for older Singers

Increasing numbers of people are taking to singing in later life, in part driven by increasing medical evidence of the health benefits it brings. Singing aids physical and neurological well-being, but above all it brings enjoyment, not only to those who have a lifetime experience of singing (both in choirs and solo), but also to those whom it is an entirely new activity. Everlasting Voices , compiled specifically for the older singer, contains: • 24 songs with a modest vocal range, in a wide range of styles • background notes about the songs and their composers • pronounciation guides for singing in Italian, German, Spanish and French • a guide to keeping your voicehealthy • performing advice and technical guidance.

Everlasting Voices (Medium Low) : Selection of Songs within Comfortable Range for older Singers

Increasing numbers of people are taking to singing in later life, in part driven by increasing medical evidence of the health benefits it brings. Singing aids physical and neurological well-being, but above all it brings enjoyment, not only to those who have a lifetime experience of singing (both in choirs and solo), but also to those whom it is an entirely new activity. Everlasting Voices , compiled specifically for the older singer, contains: • 24 songs with a modest vocal range, in a wide range of styles • background notes about the songs and their composers • pronounciation guides for singing in Italian, German, Spanish and French • a guide to keeping your voicehealthy • performing advice and technical guidance.

Was lauert da im Labyrinth? : The Monster in the Maze

The Complete Verlaine Settings : Tony Boutté (tenor), Emily Kilpatrick, Roy Howat (piano)

Inspired by Verlaine’s expressive poetry, Gabriel Fauré’s compositions mark one of the summits of all art song. From the first setting of Clair de Lune to the legendary Venetian and La Bonne Chanson song cycles, the collection presents music ofextraordinary emotional depth. Tenor Tony Boutté has established himself as a first-rate singer of many styles, including opera, art song, oratorio, and chamber music from the Baroque period to today. Described by Opera News as “possessed of a radiant, communicative tenor”, theLouisiana native has performed across the United States and Europe. Tony is on the faculty of Sam Houston State University (Texas, USA) and is artistic director of New American Voices. Scots-born Roy Howat is internationally known as performer and scholar. As pianist Roy has appeared worldwide with an array of distinguished chamber music partners and singers, also giving masterclasses, broadcasts, and lectures. His acclaimedcritical editions include numerous volumes of Fauré’s piano and chamber music for Peters Edition, as well as the complete songs, co-edited with Emily Kilpatrick.

The Art of Auditioning (Revised Edition) : A Handbook for Opera Singers, Coaches and Accompanists

Edition Peters, the world’s leading publisher of vocal music for more than 200 years, has joined forces with Anthony Leggeto produce this revised and updated edition of the best-selling guide – The Art of Auditioning . Essential reading for everyaspiring and professional singer, it contains:• authoritative advice on how to approach and prepare for your auditions• a directory of more than two hundred recommended audition arias• information about what to expect after your first successful audition and how to prepare for professional engagements.Having won many competitions and survived many auditions – and now singing all over the world, including 250performances of the role of Violetta, and having had the thrill of singing with Placido Domingo – I can recommend this bookas an invaluable guide for achieving success. Ermonela Jaho, International Soprano.This invaluable and much needed guide to the process of auditioning includes a comprehensive list of svuitable arias withhelpful comments on how they should be performed. Singers and pianists alike will benefit greatly from it. Dame Anne Evans.Anthony Legge has worked regularly with the principal British opera companies, Opera Australia, many European operacompanies and at Bayreuth, where he worked on The Ring and Die Meistersinger . He spends much time on audition andcompetition panels. His experience as a conductor, accompanist and vocal coach has given him a broad overview of theprofession.

Arion and the Dolphin

Music runs through the story of Arion, which begins with a singing competition in Sicily. Arion wins the prize, and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to bebringing him back to Corinth, and they threaten to kill him. They allow Arion to sing one last song, and the power of his singing attracts dolphins to the ship.  At the end of his song, he jumps overboard, and one of thedolphins carries him to safety.  So Arion’s musical gift gets him into trouble, but it is also his salvation.   The idea of being rescued by a music-loving dolphin is very appealing. In RobertGraves’account of the myth, the dolphin could not bear to be parted from Arion, and accompanied him back to court, where “it soon succumbed to a life of luxury.”  However, Herodotus says that, after hisrescue and return to Corinth, Arion failed to return the dolphin to the sea, and it died there.  Apollo placed the dolphin among the stars, and next to it, Arion’s lyre, in recognition of his musical skill.  Thisis one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to writea choral work for Making Music, something that would be within reach of many choirs, and involve children, this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors, and the women could create anatmosphere of mystery for the arrival of the dolphins, represented by children’s voices. There would be one solo voice: Arion, the marvellous singer. Andrew Fardell, the conductor who was advisor to this commission, hadsuggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana, a work that, as well as using children’s chorus, features a solo countertenor. I thought the magical, otherworldlyquality of this