フランスの作家ピエール・ロティの小説「ロティの結婚」を基にE.コンディネとP.ジルが台本を書く。[A12302147]近代スイス・ドイツの音楽基礎教育と歌唱活動。【楽譜 オペラ シュトラウス】ナクソス島のアリアドネ Dover publ. Strauss: Strauss: Ariadne Auf Naxos in Full Score。
序文・あらすじは英語、
譜面には英語・フランス語併記。島崎藤村作詩曲集 昭和15年初版 超稀少本。ジョン・プレイフォード イングリッシュ・ダンシング・マスター (ダンス 教則本) 輸入楽譜 John Playford The English Dancing Master 洋書。1891年、数々の作品を残してこの世を去った。6F2-4[ジャズ 楽譜・スコア・総譜等まとめ] クラリネット フルート サックス 音楽研究 書込み・剥がれ・破れ有 洋書。その他 [A01486726]The Theory of Industrial Organization (Mit Press)。
『ラクメ』でさえ、フランス国外ではそれなりの成功を収めたとは言い難い。その他 Violin Sonata No. 1 in a Op. 13: Urtext (Edition Peters) Alfred Music Faur, Gabriel。オーケストラ全パート譜 モーツァルト 交響曲第39番 k.543 未使用!。彼女の若々しく理想的なラクメは、広く繰り返し上演されたが、ロンドンに届いたのは数年後のことだった。【楽譜 オペラ シュトラウス】サロメ Dover publ. Strauss: Salome in Full Score。C15 新編 世界大音楽全集 器楽編 59冊セット 音楽之友社 K3665。プリマドンナのオペラであるため、この3人のスターが、あまり魅力的でない後任者たちに、このオペラを上演させるのは、かなり難しいことだったのかもしれない。k15-035 concone 25 lessons op.10 コンコーネ25番 中声用 全音楽譜出版社 発行日不明 反り有。【楽譜 オペラ シュトラウス】エレクトラ Dover publ. Strauss: Elektra in Full Score。このオペラが(最初の本拠地であるオペラ・コミック座で時折上演されているにもかかわらず)比較的軽視されているもうひとつの理由は、そのストーリーとリブレットが、よりメロドラマティックでセンセーショナルな「世界的大ヒット作」である『蝶々夫人』の先駆けであるためであろう!
しかし、別の理由もあるだろう。オーケストラ全パート譜 モーツァルト 雀のミサ ミサブレビス k.220 未使用。オーケストラ全パート譜、指揮者用スコア付 モーツァルト ミサ曲ト長調 パストラルミサ k.146 未使用。しかし、現在のマスネの復活とともに、デリベ、トマ、グノー、そしてもう1つか2つ、優雅でメロディアスな同胞が復活する可能性は大いにある。k10-223 Mozart CONCERTI FOR WIND INSTRUMENTSin Full Score 汚れあり。グスタフ・マーラー Gustav Mahler 交響曲第7番 ファクシミリ版。実際、「英国家庭教師 」の 「ミス・ベンソン 」は楽しいコミカルな創作であり、マイナーな役柄の賢い初心者の評判を呼び起こすだろう。パッヘルベル オルガン作品選集 第1,2巻 (オルガンソロ)輸入楽譜 Pachelbel Ausgewahlte Orgelwerke Bd.1,2 洋書。その他 EDITION PETERS DEBUSSY CLAUDE - SONATA FOR VIOLA, FLUTE & HARP - VIOLA(S) AND OTHER INSTRUMENTS Partition classique Cordes Alto。リリカルなスタイルでは、英語はどうしてもフランス語よりも淡々としてしまうからだ。洋書 楽譜 モーツァルト オペラ コシ・ファン・トゥッテ KV 588全曲 リコルディ社 ピアノ伴奏 ヴォーカル アリア 声楽 スコア イタリア語。楽譜 ドビュッシー Sonate fuer Violine und Klavier g-moll。原曲の韻律に難色を示すこともあったが、ヴォーカルやメロディラインと結びついているように思われたので、これは作り直された。編曲の本/日本作編曲家協会(著者)。洋書楽譜ヴォーカルスコアピアノ伴奏ドリーブ歌劇オペララクメ全曲全三幕英語フランス語鐘の歌花の二重唱他声楽 Lakme Operas Vocal Score。
Delibes, one of the most 'French' and fastidious of composers, was born in 1836, and started on his musical career at the age of twelve as choirboy the sort of start shared by many other composers later distinguished for an immaculate technique. He died in 1891 with a long list of works to his credit, a 'Member of the Institut', and full of honours. He wrote almost entirely for the theatre and some of his forgotten works might well be considered for revival; but he is remembered at present almost only for three successes, two ballets, Coppelia and Sylvia, and the romantic opera Lakme
Even Lakme cannot be said to have had so far more than a moderate success outside France. It started triumphantly in Paris in 1883 when the part was created by Marie Van Zandt: her youthful and ideal Lakme was repeated far and wide but only reached London some years later. It was taken up by Patti in 1890 and not again at Covent Garden for Tetrazzini, nine performances 1910-1911. It may be that these three stars made it rather daunting for less dazzling successors to take up it is, after all, a prima donna opera. Though the other parts are grateful and the soprano herself has only the one ex- acting coloratura number, all the rest is light and lyrical. Another reason for its comparative neglect (despite creditable revivals from time to time at its first home, the Opera Comique) may be that its story and libretto make it so much a precursor of the more melodramatic and sensational 'world-beater' Madama Butterfly indeed the chief characters run almost in parallel!
But there may be also another reason. It has that delicate and rather period' charm of the best French nineteenth-century opera, and needs a performance in the best of that taste a style from which fashion has for some years turned away. But with the present revival of Massenet very likely may come a return of Delibes, Thomas, Gounod and one or two more of their graceful and melodic compatriots.
Lakme, at any rate should never be lost, and it should always be given in the full original version, with the three English ladies and all their music (which is admirably characterized and lively, and a good foil to the plentiful sentiment of the main plot). Indeed 'Miss Benson', the 'English governess', is a delightful comic creation, and could well spark-off a reputation for a clever beginner in minor roles.
It is a difficult opera to translate, English being inevitably more matter-of- fact than French in that lyrical style. Claude Aveling made a smooth and natural cut- version many years ago for a broadcast: this has now been completed. Sometimes where he balked at the rhyming scheme of the original, this has been refashioned, as it seemed tied-up with the vocal and melodic line. In several ways this version is nearer to the original than the Italian translation, and in our own language this attractive opera may have a more immediate appeal.
HUMPHREY PROCTER-GREGG
Synopsis
In the bamboo forest outside the Hindoo city in the days of the British Raj there is a little temple, a sacred shrine prohibited even to the faithful. It is the headquarters of Nilakantha, a powerful priest of the local cult hostile to the British. Here he keeps in reclusion his beautiful young daughter Lakme as a sort of priestess: all this we learn from the opening scene including a delightful duet for Lakme and her attendant Mallika, as they go about their duties. They drift away out of earshot and a British picnic party gate-crash into this private paradind his practical, down to earth friendher irresponsary gate in poetically inclined, and peritish Governor: Ellen, bey way deric, are e artistic and English girls, daughters of the them their governess the redour being en gaged to Gerald, her sister Rose and with themes indoes the redoubtable Men gaged to who disapproves on principle of all things Indianally davivacious quintet they benson aware of their sacrilegious intrusion, probably a really dangerous escapade, they they beat a retreat. Gerald, however, wilfully remains to sketch some wonderful jewnid theging before the shrine, presumably worn on ceremonious occasions by the priestess hanging befionable Gerald examining them finds himself fancying the is in love with the The in of such marvels. Naturally Lakme herself reappears to add thrilling reality to this day dream: she is not unsusceptible herself: hence their duet. And when Gerald tears hinis self away and her father returns, Nilakantha is furious to find there has been a violation of his sanctuary and he swears to discover and destroy the intruder.
Act II. is mainly occupied with the city morning market and the great annual festival of the local deity, Dourga. The market is full of activity and local colour and poor Miss Benson manages to get lost and mixed-up in it and robbed of her watch: she is rescued by the rest of her party and the market closes for noontide rest. This makes an opportunity for Nilakantha to develop his plot: disguised with her father as wandering beggars, Lakme is to sing one of the ancient and popular traditional ballads beloved of the festival crowd: this he feels sure will induce the impudent lover to reveal himself, when fanatical revolutionaries are to dispatch him. All goes according to plan. Lakme in terror is forced to sing the mythical legend known as the 'Bell Song' when the gorgeous festival is in full swing: Gerald is discovered, surrounded and stabbed, but the conspirators are disturbed and scattered in a panic without completing their task. Hadji, a faithful servitor of Lakme, who has known her from childhood, guesses at the whole situation and spirits the wounded Gerald away to a hiding-place in the forest: Lakme is now deeply in love with him.
Act III. takes place in this sylvan retreat where Gerald, nursed by Hadji, and visited secretly each day by Lakme, is now almost recovered. Meantime political disturbance in the country has necessitated a movement of the troops away on campaign. Frederic finds Gerald and reminds him of his duty: the troops can be heard in the distance as detachments march off singing. Gerald promises he will follow, and Frederic departs, sure now that his errant friend will keep his word.
When Lakme returns for what Gerald knows must be a final meeting, he dare not break the news to her, but she guesses it. She has brought him the sacred water from the holy spring whose magic power unites betrothed lovers to all eternity: she but puts it to her lips and gives it to him to drink while she sucks instead the poison from a datura flower known to the Indians as lethal. The rest follows operatically naturally enough: when her distraught father arrives he must perforce spare his enemy who has drunk of immortality as Lakme can just tell him before she dies: the gods, she says, will be appeased for sacrilege by her own sacrifice. The future of the wretched Gerald has to be left to the imagination, but in this last duet Lakme had promised him a happy life and for herself a happy death in his arms.
Yahoo!オークションが定める基準をもとに、出品者の主観により判断しています。ヘンリー・マンシーニ Sounds and scores A practical guide to professional orchestration Hardcover EnglishEdition 洋書 Henry Mancini。
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