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This book contains the complete vocal score of "Iolanthe; or, The Peer and the Peri". "Iolanthe" is a comic musical opera written by Arthur Sullivan and W. S. Gilbert. This volume will be of utility to those interested in performing the Savoy Operas, and is not to be missed by the discerning collector. 'Savoy Opera' was a form of opera developed in Victorian England by W. S. Gilbert and Arthur Sullivan. The name is derived from the Savoy Theatre, which impresario Richard D'Oyly Carte built to house the Gilbert and Sullivan pieces, and later, those by other composer-librettist teams. William Schwenck Gilbert (1836 - 1911) an English dramatist, librettist, poet and illustrator best known for the fourteen comic operas produced in collaboration with the composer Sir Arthur Sullivan. Many vintage texts such as this are becoming increasingly rare and expensive, and it is with this in mind that we are republishing this volume now, in an affordable, modern, high-quality edition. It comes complete with a specially commissioned new biography of the author.
An Opera, composed by William S. Gilbert and Arthur S. Sullivan.
Expertly arranged Vocal Score by Peter Ilyich Tchaikovsky from the Kalmus Edition series. This Opera Score is from the Romantic era.
Expertly arranged Vocal Score by Peter Ilyich Tchaikovsky from the Kalmus Edition series. This Opera Score is from the Romantic era.
Lists scores and recordings for music library collections
Music Theory through Musical Theatre takes a new and powerful approach to music theory. Written specifically for students in music theatre programs, it offers music theory by way of musical theatre. Not a traditional music theory text, Music Theory through Musical Theatre tackles the theoretical foundations of musical theatre and musical theatre literature with an emphasis on what students will need to master in preparation for a professional career as a performer. Veteran music theatre musician John Franceschina brings his years of experience to bear in a book that offers musical theatre educators an important tool in equipping students with what is perhaps the most important element of being a performer: the ability to understand the language of music in the larger dramatic context to which it contributes. The book uses examples exclusively from music theater repertoire, drawing from well-known and more obscure shows and songs. Musical sight reading is consistently at the forefront of the lessons, teaching students to internalize notated music quickly and accurately, a particularly necessary skill in a world where songs can be added between performances. Franceschina consistently links the concepts of music theory and vocal coaching, showing students how identifying the musical structure of and gestures within a piece leads to better use of their time with vocal coaches and ultimately enables better dramatic choices. Combining formal theory with practical exercises, Music Theory through Musical Theatre will be a lifelong resource for students in musical theatre courses, dog-eared and shelved beside other professional resource volumes.
Plot synopses accompany uncut and unedited songs in their original keys and in piano arrangements authorized by Sullivan himself
"25 years previous to the action of the opera, Iolanthe, a fairy, had committed the capital crime of marrying a mortal. The Queen of the Fairies had commuted the death sentence to banishment for life--on condition that Iolanthe must leave her husband without explanation and never see him again. Her son, Strephon has grown up as a shepherd, half fairy, half mortal...the entire House of Lords is enamored of Phyllis [as is Strephon. The opera focuses on the drama of the privledge to marry Phyllis...]"--Argument.
"Includes the complete editions of the music of individual composers and the major collections of music that have been published or are in the process of publication ... that is, collections, anthologies, or monumental sets of music considered by the author to have historical value, musical worth, reliable editing, or significance to music research"--Preface, p. ix.

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