Aria : per quartetto d'archi (2018)

Arie Antiche - Volume 1

Volume 1 of this fabulous Aria collection contains 30 arias by various composers for Voice and Piano, as compiled and edited by A. Parisotti.

Arie Antiche - Volume 2

Volume 2 of this fabulous Aria collection contains 30 arias by various composers for Voice and Piano, as compiled and edited by A. Parisotti.

Giacomo Puccini: O Mio Babbino Caro (Gianni Schicchi) - Soprano and Piano (Key of F)

Giacomo Puccini's famous aria O Mio Babbino Caro (O My Beloved Father) from his one act opera Gianni Schicchi, for Soprano (in F Major) and Piano accompaniment.

Giacomo Puccini: Nessun Dorma (Turandot)

Puccini's popular aria Nessun Dorma or None Shall Sleep Tonight from the opera Turandot set here for Tenor Voice and Piano accompaniment in G. Italian text with English translation.

New Songs of Lada without words : for Oboe, Cor anglais, Oboe d'amore (ad libitum) and String Orchestra

Il Teuzzone RV 736 : Ed. critica A. Borin - A. Moccia - Riduzione per canto e pianoforte

With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the “Red Priest” for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer’s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Fo 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera’s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi’s opera underwent, an operation that sheds light on the inner workings of Vivaldi’s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed.

Il Teuzzone, RV 736 : Edizione critica a cura di Alessandro Borin - Antonio Moccia (testi in italiano e inglese)

With Il Teuzzone, RV 736, the collected edition of operas by Antonio Vivaldi gains a new volume that brings to completion the pair of operas written by the “Red Priest” for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738 (PR 1411). This edition of Teuzzone, the first in modern times, is based on the two complete sources to have survived: a copy originating from the composer’s own archive (Biblioteca Nazionale Universitaria di Torino, Raccolta Mauro Fo 33) and the one today housed in Berlin (Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Musikabteilung, N. Mus, ms. 125), which was made for the Mantuan production. Additionally, numerous secondary sources have been collated. An appendix to the volume contains the musical materials discarded by Vivaldi during the period preceding the opera’s premiere. The supporting texts for the edition report on new findings that have emerged from archival and documentary research. It has been established, for instance, that the aria Tu, mio vezzoso (I.03) is a borrowing from Alessandro Severo by Antonio Lotti, while the aria Tornerò, pupille belle (II.02) is a reworking of Nelle mie selve natie, an aria in Scanderbeg, RV 732. These examples reveal the pasticcio-like nature of this Vivaldi opera. In the section concerned with the description of the sources, which includes a meticulous codicological examination of the source in Turin, a bold attempt has been made to reconstruct the phases that the composition of Vivaldi’s opera underwent, an operation that sheds light on the inner workings of Vivaldi’s atelier. In addition, the close relationship of this score to a work with the same title staged in Turin with music by G. Casanova and A. S. Fiorè is analysed.

Cantolopera: Mozart Arias For Soprano

This unique and exciting series gives you the chance to learn some of the greatest arias of the Opera tradition with full orchestral backing tracks! A selection of operatic showstoppers have been presented in full notation with concert accompaniments for Piano. Furthermore, a professionally recorded CD is included that features the full-scale orchestral arrangement of each aria so you can experience the power and magic of a grand-scale performance. There's even a version of each featuring an established singer so you can hear the piece in full. An excellent rehearsal tool, or the ideal way to introduce your voice to the wonders and rigours of the Opera.

Cantolopera: Puccini Arias For Soprano

This unique and exciting series gives you the chance to learn some of the greatest arias of Giacomo Puccini with full orchestral backing tracks. 8 operatic showstoppers have been selected from works including Madama Butterfly, La Boheme and Turandot, presented in full notation with concert accompaniments for Piano. Furthermore, a professionally recorded CD is included that features the full-scale orchestral arrangement of each aria so you can experience the power and magic of a grand-scale performance. There's even a version of each featuring an established singer so you can hear the piece in full.An excellent rehearsal tool, or the ideal way to introduce your voice to the wonders and rigors of the Opera.

Cantolopera: Verdi Arias For Soprano

This unique and exciting series gives you the chance to learn some of the greatest arias of Giuseppe Verdi with full orchestral backing tracks. 8 operatic showstoppers have been selected from works including Ernani, Il Trovatore and Rigoletto, presented in full notation with concert accompaniments for Piano. Furthermore, a professionally recorded CD is included that features the full-scale orchestral arrangement of each aria so you can experience the power and magic of a grand-scale performance. There's even a version of each featuring an established singer so you can hear the piece in full.An excellent rehearsal tool, or the ideal way to introduce your voice to the wonders and rigors of the Opera.

W.A. Mozart: Opera Arias - Soprano

An essential new edition for every singer and voice studio! This is the most comprehensive multi-volume collection of Mozart opera arias ever published, with editions for Soprano, Mezzo-Soprano, Tenor and Bass/Baritone with 31 to 41 arias per volume. Includes historical and plot notes about each opera and aria, and English translations for study. The most familiar arias, of course, are found in the collections, along with many masterful, vocally gratifying, but less familiar selections. Operas represented: Apollo et Hyacinthus; Ascanio in Alba; Bastien und Bastienne; La Clemenza di Tito; Così fan tutte; Don Giovanni; Die Entführung aus dem Serail; La finta giardiniera; La finta semplice; Idomeneo; Lucio Silla; Mitridate, rè di Ponto; Le nozze di Figaro; L'oca del cairo; Il rè pastore; Der Schauspieldirektor; Il sogno di Scipione, Zaide, Die Zauberflöte.

W.A. Mozart: Opera Arias - Baritone/Bass

An essential new edition for every singer and voice studio! This is the most comprehensive multi-volume collection of Mozart opera arias ever published, with editions for Soprano, Mezzo-Soprano, Tenor and Bass/Baritone with 31 to 41 arias per volume. Includes historical and plot notes about each opera and aria, and English translations for study. The most familiar arias, of course, are found in the collections, along with many masterful, vocally gratifying, but less familiar selections. Operas represented: Apollo et Hyacinthus; Ascanio in Alba; Bastien und Bastienne; La Clemenza di Tito; Così fan tutte; Don Giovanni; Die Entführung aus dem Serail; La finta giardiniera; La finta semplice; Idomeneo; Lucio Silla; Mitridate, rè di Ponto; Le nozze di Figaro; L'oca del cairo; Il rè pastore; Der Schauspieldirektor; Il sogno di Scipione, Zaide, Die Zauberflöte.

Gioacchino Antonio Rossini: Adina

Composed in 1818 on commission from an unknown individual in Lisbon, Adina was left to languish some years until its premiere in 1826, with a single performance in that city remaining virtually the only one on record until the opera's revival in 1963. The present vocal score is based on the critical edition of the orchestral full score prepared by Fabrizio Della Seta and published by the Fondazione Rossini of Pesaro in collaboration with Casa Ricordi. This Edition reconstructs for the first time the structure of the autograph score, which reflects the collective contributions of at least five different hands: having composed only four entirely new numbers and repurposed another three from Sigismondo, Rossini relied upon collaborators and copyists for the remainder of the music. Della Seta's detailed examination of this fundamental document (housed at the Fondazione Rossini) together with an informed assessment of the secondary sources, including a complete manuscript copy (housed at the British Library in London), various manuscript vocal parts with Rossini's autograph interventions (housed in the Royal Conservatory of Brussels), and the first edition of the vocal score published by Ricordi between 1855 and 1859, additionally reveals how the libretto printed in Lisbon for that single historic performance in 1826 differed substantially from the narrative disposition of the autograph score, with ample cuts and modifications (among those the suppression of the Aria Alì and the addition of a Coro). While neither attributable to Rossini himself nor pertaining to his original conceptual design of the opera, this Coro, the music of which survives in the first vocal score, is included as an Appendix to the edition.