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Die Schuldigkeit des Ersten Gebots K. 35 The Obligation to keep the First Commandment First part of a sacred Singspiel Text by: Ignaz Anton Weiser Première: 12. März 1767, Salzburg, Rittersaal der Fürsterzbischöflichen Residenz Edition: Franz Giegling (New Mozart Edition) |
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Characters: Gerechtigkeit Barmherzigkeit Weltgeist Christgeist Christ |
Sopran Sopran Sopran Tenor Tenor |
Orchestra: 2,2,0,2 – 2,0,1,0 – Str – Bc Duration: ca. 1h 25‘ BA 4513 Full score (NMA I/4/1) Vocal score (BA 4513-90) on sale The so-called “Schluss opera” was a traditional Jesuit play with an operatic slant. Here Mozart drew closely on the church and school music traditions of his native Salzburg. The work was probably commissioned by Prince-Bishop Schrattenbach from three Salzburg composers: the first part from Mozart, the second from Michael Haydn, and the third from Anton Cajetan Adlgasser. The scores for parts 2 and 3 are lost. |
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Apollo et Hyacinthus K. 38 Apollo and Hyacinth A Latin intermedium to the school drama Clementia Croesi Text by: Pater Rufinus Widl O.S.B. Première: 13. Mai 1767, Salzburg, Große Aula der Universität Translation: Peter Brenner (German) Edition: Alfred Orel (New Mozart Edition) Zeit der Handlung: In mythischer Zeit |
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Characters: Oebalus, König von Lazedämonien Melia, seine Tochter Hyacinthus (Hyacinth, des Oebalus Sohn) Apollo, Gastfreund des Oebalus Zephyrus (Zephyr), Vertrauter Hyacinths 2 Opferpriester Apollos |
Tenor Sopran Sopran Alt Alt 2 Bässe |
Chor: Volk von Lazedämonien Orchestra: 0,2,0,0 – 2,0,0,0 – Str – Bc Duration: ca. 1h BA 4516 Full score (NMA II/5/1) Vocal score (BA 4516-90; lat./dt.) on sale Apollo and Hyacinth is an “intermedium” – a musical piece performed in alternation with the sections of a spoken play – and was conceived for performance with the “tragoedia” Clementia Croesi at the Latin school of Salzburg University. Written when Mozart was only 11 years old, this is his first work for the stage. For the plot, Widl turned to the ancient spring myth of the metamorphosis of Hyacinth as recounted by Ovid, Palaiphatos and Lucian. This is the first time the work has appeared in vocal score. The original Latin has been underlaid with a new singing translation in German. |
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Bastien und Bastienne K. 50 (46b) Bastien and Bastienne Singspiel in one act Libretto: Johann Andreas Schachtner (after Marie-Justine-Benoîte Favart, Charles-Simon Favart and Harny de Guerville as well as Friedrich Wilhelm Weiskern and Johann Heinrich Müller) Première: 2. Oktober 1890, Berlin, Architektenhaus Edition: Rudolph Angermüller, with recitatives, from No. 7 completed by Leopold Hager (New Mozart Edition) Ort und Zeit der Handlung: Ein Dorf mit Aussicht ins Feld, Anfang 18. Jahrhundert |
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Characters: Bastienne, eine Schäferin Bastien, ihr Geliebter Colas, ein vermeintlicher Zauberer |
Sopran Tenor Bass |
Ballett: Einige Schäfer und Schäferinnen Orchestra: 2,2,0,0 – 2,0,0,0 – Str – Bc Duration: ca. 50’ BA 4570 Full score (NMA II/5/3), Vocal score (BA 4570-90) on sale As Bastien and Bastienne is not a full-length work, it is often combined with other short operas; it is also suitable for performance in schools or marionette theaters. Performers who wish to dispense with Schachtner’s text in the recitatives can make us of Weiskern’s spoken dialogue, which appears in the appendix. |
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La finta semplice K. 51 (46a) The Feigned Simpleton Opera buffa in three acts Libretto: Marco Coltellini (nach Carlo Goldoni) Première: 1769, Salzburg, Hoftheater (?) Translation: Peter Brenner (German) Edition: Rudolph Angermüller and Wolfgang Rehm (New Mozart Edition) Ort der Handlung: Landhaus Cassandros und Polidoros und Umgebung bei Cremona |
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Characters: Rosina, ungarische Baronesse, Schwester von Fracasso, die vorgibt, einfältig zu sein Don Cassandro, reicher Schlossherr aus Cremona, ein dummer und geiziger Edelmann Don Polidoro, dessen jüngerer Bruder, ein dummer Edelmann Giacinta, deren Schwester Ninetta, deren Kammerzofe Fracasso, Hauptmann der ungarischen Truppen, Bruder von Rosina Simone, dessen Sergeant |
Sopran Bass Tenor Sopran Sopran Tenor Bass |
Orchestra: 2,2,(also 2 Cor anglais),0,2 – 2,2(also 2 Corni da caccia),0,0,0 – Str – Bc Duration: ca. 2h 30’ BA 4594 Full score (NMA II/5/2) Vocal score (BA 4594-90; ital./dt.) on sale This volume presents a critically revised edition of the musical text that nevertheless attempts to preserve the character of this early work. The preface contains important notes on performance practice and illuminates the work’s historical context by presenting a detailed account of the failed Vienna première of 1768. |
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Mitridate, Re di Ponto K. 87 (74a) Mitridates, King of Pontus Opera seria in three acts Libretto: Vittorio Amadeo Cigna-Santi (nach Jean Baptiste Racine) Première: 26. Dezember 1770, Mailand, Teatro Regio Ducale Translation: Eberhard Schmidt (German) Edition: Luigi Ferdinando Tagliavini (New Mozart Edition) Ort und Zeit der Handlung: Am Pontus, um 63 v. Chr., zur Zeit des dritten Krieges König Mithridates’ IV. gegen Rom |
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Characters: Mitridate, König von Pontus und anderer Reiche, verlobt mit Aspasia Aspasia, Verlobte des Mitridate und bereits zur Königin erklärt Sifare, Sohn des Mitridate und der Stratonica, Geliebter der Aspasia Farnace, erstgeborener Sohn des Mitridate, liebt Aspasia Ismene, Tochter des Partherkönigs, Verlobte des Farnace Marzio, römischer Tribun, Freund des Farnace Arbate, Gouverneur von Ninfea |
Tenor Sopran Sopran Alt Sopran Tenor Sopran |
Stadtväter und Bewohner von Ninfea, königliche Wachen, pontische und parthische Offiziere und Soldaten (darunter die des Sifare und die des Farnace), römische Soldaten des Marzio. Orchestra: 2,2,0,1(ad lib.) – 4,2,0,0 – Timpani – Str – Bc Duration: ca. 3h 15’ BA 4541 Full score (NMA II/5/4) Vocal score (BA 4541-90; ital./dt.) on sale Mitridate brought about Mozart’s immediate breakthrough in Milan at the age of 14. The première, including the customary ballets interpolated between the acts, lasted some six hours. Our edition is the first to include previously unknown or partially lost pieces and a richer orchestral “garb” for several of the arias. Additional source material led to the discovery of a previously unknown Marcia included in the NMA score. |
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Ascanio in Alba K. 111 Festa teatrale in two parts Libretto: Giuseppe Parini Première: 17. Oktober 1771, Mailand, Teatro Regio Ducale Translations: Günter Haußwald (German), Peter Brenner (German) Edition: Luigi Ferdinando Tagliavini (New Mozart Edition) Ort und Zeit der Handlung: Erst die Landschaft, dann die Stadt Alba, in mythischer Zeit |
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Characters: Venere Ascanio Silvia, Nymphe aus dem Geschlecht des Herkules Aceste, ein Priester Fauno, einer der Anführer der Hirten |
Sopran Mezzosopran Sopran Tenor Sopran |
Chor/Ballett: Genien, Hirten, Schäferinnen Orchestra: 2,2,2 Serpenti (=Cor anglais),2 – 2,2,0,0 – Timpani – Str – Bc Duration: ca. 2h 30’ BA 4504 Full score (NMA II/5/5) Vocal score (BA 4504-90; ital./dt.: Peter Brenner) on sale With its many notes on contemporary performance practice, this edition marks a milestone in modern scholarly-critical performance editions. It is based on the autograph score, which conveys an authentic picture of the work’s genesis, and a copyist’s score that Mozart himself used at the Milan première. The Ballo between parts 1 and 2 was long thought to be lost. In 1964 Wolfgang Plath proved that the “Nine Little Piano Pieces” K A 207 were quite obviously piano reductions of the ballet music from Ascanio in Alba. They have been included in our vocal score as entr’acte music. |
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Betulia liberata K. 118 (74c) The Liberation of Bethulia Azione sacra in two parts Libretto: Pietro Metastasio Première: 1771 oder 1772 (?), Padua (?) Translations: Otto Schmidtgen (German), Eberhard Schmidt (German) Edition: Luigi Ferdinando Tagliavini (New Mozart Edition) |
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Characters: Ozìa, Fürst von Betulien Giuditta, Witwe Manasses Amital, edle Israelitin Achior, Fürst der Ammoniter Cabri und Carmi, Anführer des Volkes |
Tenor Alt Sopran Bass 2 Soprane |
Chor: Volk von Betulien Orchestra: 2,2,0,2 – 4,2,0,0 – Str – Bc Duration: ca. 2h 10’ BA 4521 Full score (NMA 1/4/2), Vocal score (BA 4521-90; ital./dt.: Eberhard Schmidt i.V.) on sale The azione sacra Betulia liberata unquestionably posed the greatest challenge to the talents of the young Mozart during his Italian period. Modeled on the contemporary Italian oratorio, it is usually given in concert performance but, like its models, may also be staged. |
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Il sogno di Scipione K. 126 The Dream of Scipio Azione teatrale Libretto: Pietro Metastasio Planned Première: 1. Mai 1772, Salzburg (for the inthronisation ceremonies of Archbishop Hieronymus von Colloredo) Uraufführungen: 20. Januar 1979, Salzburg, Großes Festspielhaus (konzertant); 4.(?) Juni 1984, Vicenza, Teatro Olimpico (szenisch) Translation: Peter Brenner (German) Edition: Josef-Horst Lederer (New Mozart Edition) Ort der Handlung: Numidien in Afrika, Palast des Königs Massinissa |
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Characters: Scipio, römischer Feldherr Publio, Adoptivgroßvater des Scipio Costanza, Göttin der Beständigkeit Emilio, Vater des Scipio Fortuna, Göttin des Glücks Licenza |
Tenor Tenor Sopran Tenor Sopran Sopran |
Chor: Helden Orchestra: 2,2,0,2 – 2,2,0,0 – Timpani – Str – Bc Duration: ca. 2h BA 4577 Full score (NMA II/5/6), Vocal score: (BA 4577-90; ital./dt.) on sale Mozart originally wrote the azione teatrale The Dream of Scipio at the age of 15 for his patron, Prince- Bishop Sigismund von Schrattenbach. After the bishop’s untimely death he then dedicated the piece to his successor, Count Colloredo. It was probably never performed during Mozart’s lifetime. |
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Lucio Silla K. 135 Dramma per musica in three acts Libretto: Giovanni de Gamerra Première: 26. Dezember 1772, Mailand, Teatro Regio Ducale Translation: Eberhard Schmidt (German) Edition: Kathleen Kuzmick HanseIl (New Mozart Edition) Ort und Zeit der Handlung: Rom, Palast Lucio Sillas und Umgebung, um 80 v. Chr. |
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Characters: Lucio Silla, Diktator Giunia, Tochter Gajo Marios und Verlobte Cecilios Cecilio, verbannter Senator Lucio Cinna, römischer Patrizier, Freund Cecilios und heimlicher Gegner Lucio Sillas Celia, Schwester Lucio Sillas Aufidio, Tribun, Freund Lucio Sillas |
Tenor Sopran Sopran Sopran Sopran Tenor |
Chor: Wachen, Senatoren, Edelleute, Soldaten, Volk Orchestra: 2,2,0,2 – 2,2,0,0 – Timpani – Str – Bc Duration: ca. 4h BA 4590 Full score (NMA II/5/7) Vocal score (BA 4590-90, ital./dt.) on sale Lucio Silla is Mozart’s second opera for Milan after Mitridate. Thanks to several spectacular recent stagings, it has become the focus of interest in his early operas. The detailed preface discusses every aspect related to the work’s history and performance practice. For the first time, Cecilio’s aria Ah se morir mi chiama is reproduced in the appendix with the newly discovered embellished vocal part in the hand of Nannerl Mozart – an important example of the manner in which slow passages in arias were ornamented in Mozart’s day. |
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La finta giardiniera K. 196 The Feigned Gardener’s Girl Dramma giocoso in three acts Libretti: Italienische Fassung: Giuseppe Petrosellini (?); Deutsche Singspielfassung: Die verstellte Gärtnerin, Johann Franz Joseph Stierle d. Ä. Premières: Italian Version: 13. Januar 1775, München, Opernhaus St. Salvator German Singspiel version: 1.(?) Mai 1780, Augsburg, Komödienstadl Edition: Rudolph Angermüller and Dietrich Berke (New Mozart Edition) Ort der Handlung: Gebiet von Schwarzensee |
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Characters: Don Anchise, Amtshauptmann von Schwarzensee La Marchesa Violante unter dem Namen Sandrina, als Gärtnerin Il Contino Belfiore Arminda, Nichte des Amtshauptmanns Il Cavaliere Ramiro, Armindens Liebhaber Serpetta, Wirtschafterin des Amtshauptmanns Roberto, Diener der Violante unter dem Namen Nardo, ebenfalls als Gärtner |
Tenor Sopran Tenor Sopran Sopran Sopran Bass |
Orchestra: 2,2,0,2 – 4,2,0,0 – Timpani – Str – Bc Duration: ca. 3h 30’ BA 4578 Full score (NMA II/5/8) Vocal score (BA 4578-90, ital./dt.) (dt. Übersetzung der Rezitative: Dagny Müller) on sale Our edition is the first to present both authentic versions of this work: the dramma giocoso of 1775 and the German singspiel of 1779/80. The Italian recitatives have been given a German singing translation to permit performances in German with sung recitative. |
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Il re pastore K. 208 The Shepherd King Serenata in two acts Libretto: Pietro Metastasio Première: 23. April 1775, Salzburg, Fürsterzbischöfliche Residenz Translation: Peter Brenner (German) Edition: Pierluigi Petrobelli and Wolfgang Rehm (New Mozart Edition) Ort und Zeit der Handlung: In und bei der phönizischen Königsstadt Sidon, um 334 v. Chr. |
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Characters: Alessandro, König von Mazedonien Aminta, Hirte, Liebhaber der Elisa Elisa, eine junge, vornehme Phönizierin aus dem Stamme des Kadmus, Geliebte Amintas Tamiri, Tochter des Tyrannen Straton, Geliebte des Agenore Agenore, Vornehmer aus Sidon, Freund Alessandros, Liebhaber Tamiris |
Tenor Sopran Sopran Sopran Tenor |
Orchestra: 2,2(also Cor anglais)0,2 – 4,2,0,0 – Str – Bc Duration: ca. 2h BA 4599 Full score (NMA II/5/9), Vocal score (BA 4599-90, ital./dt.) on sale Unlike opera, the serenata was a theatrical form in which the staging was reduced to a minimum. The genre enjoyed a lively and fertile tradition at the Vienna court. Metastasio originally wrote the libretto for Giuseppe Bonno (Vienna, 1750/51). It was also set as an opera by Francesco Antonio Uttini, Johann Adolf Hasse, Christoph Willibald Gluck, Pietro Alessandro Guglielmi and Baldassare Galuppi, among others. |
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Zaide (Das Serail) K. 344 (336b) German Singspiel in two acts (1780) Libretto: Johann Andreas Schachtner Première: 27. Januar 1866, Frankfurt a.M., Opernhaus Edition: Friedrich Heinrich Neumann; text version after the »Bozener Textbuch« and the fragment by Johann Andreas Schachtner by Werner Oehlmann (New Mozart Edition) Ort der Handlung: Palast des Sultans |
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Characters: Zaide Sultan Soliman Gomatz Osmin Allazim 4 Sklaven Zaram, Oberster der Leibwache |
Sopran Tenor Tenor Bass Bass Tenöre Sprechrolle |
Chor: Sklaven und Sklavinnen, Wachen Orchestra: 2,2,0,2 – 2,2,0,0 – Timpani – Str Duration: ca. 1h 30’ BA 4510 Full score (NMA II/5/10), Vocal score (BA 4510-90) on sale The words sung and spoken in the numbers known as Das Serail are taken from Schachtner’s text as handed down in the autograph score. Apart from a few verbal cues, the dialogue between the musical numbers is lost. As a result, the editor of the vocal score has followed, with modifications, a libretto by Joseph Friebert (printed in Bozen, 1779) entitled Das Serail. Oder: Die unvermuthete Zusammenkunft in der Sclaverey zwischen Vater, Tochter und Sohn (The Serail. Or: The Uninspected Meeting in the Slavery of Father, Daughter and Son) that strongly resembles the plot of Mozart’s Zaide. The Symphony in G major, K 318, can be performed in lieu of the overture missing in the autograph. As a finale, the arrangement includes a repeat of the opening chorus (No. 1), fully orchestrated and supplied with new words. |
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Thamos, König in Ägypten K. 345 (366a) Thamos, King of Egypt Incidental Music to the heroic drama in five acts Text by: Tobias Philipp Freiherr von Gebler Uraufführungen: 1. Fassung: April 1774, Wien, Kärntnertortheater; 2. Fassung: 1779 (?) Edition: Harald Heckmann; text of the drama revised for the stage by Karl-Heinz Ruppel (New Mozart Edition) Ort der Handlung: Die Sonnenstadt Heliopolis |
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Characters: Sethos, Oberpriester des Sonnentempels Zwei Sonnenjungfrauen, zwei Priester |
Bass Sopran, Alt, Tenor, Bass |
Personen des Schauspiels: Thamos, König in Ägypten; Pheron, Fürst des königlichen Hauses; Mirza, Vorsteherin der Sonnenjungfrauen; Phanes, Feldherr; Sais, eine edle Ägypterin; Myris, ein edler Ägypter; Hammon, ein Sonnenpriester; Große des Reichs und andere Ägypter, Kriegsleute Chor: Sonnenjungfrauen und Priester Orchestra: 2,2,0,2 – 2,2,3,0 – Timpani – Str Duration: ca. 45’ BA 4505 Full score (NMA II/6/1) on sale Thamos is Mozart’s only surviving incidental music. Our edition contains the music as well as the full text of Gebler’s play, thereby permitting performances of the complete work. It is based on Mozart’s heavily revised version of 1779, with the first version of 1774 appearing in the appendix. |
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Idomeneo K. 366 Dramma per musica in three acts Libretto: Giambattista Varesco (nach Antoine Danchet) Premières: 1. version: 29. Januar 1781, München, Hoftheater; 2. version: 13. März 1786, Wien, Bauernfeindscher Saal im Palais von Johann Adam Fürst Auersperg (konzertant) Translations: Kurt Honolka (German), Eberhard Schmidt (German) Edition: Daniel Heartz (New Mozart Edition) Ort der Handlung: Kydonia, Hauptstadt von Kreta |
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Characters: Idomeneo, König von Kreta Idamante, sein Sohn (1. Fassung) (2. Fassung) Ilia, trojanische Prinzessin, Tochter des Priamus Elettra, Prinzessin, Tochter des Agamemnon, des Königs von Argus Arbace, Vertrauter des Königs Oberpriester des Neptun Eine Stimme |
Tenor Sopran Tenor Sopran Sopran Tenor Tenor Bass |
Chor/Ballett: Kreterinnen, Kreter Orchestra: Picc, 2,2,2,2 – 4,2,3,0 – Timpani – Str – Bc Duration: ca. 3h 30' BA 4562 Full score (NMA II/5/11), Vocal score (BA 4562-90; ital./dt.: Eberhard Schmidt) on sale The main text of the edition consists of the version heard at the Munich première in 1781 (where Idamante was taken by a male soprano) along with the Vienna revision of 1786 (where Idamante was sung by a tenor). Sections cut at the Munich première, unless lost, are reproduced in the appendix. The edition thus contains the complete material for Idomeneo in a form convenient for use by performers. |
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Die Entführung aus dem Serail K. 384 The Abduction from the Seraglio German Singspiel in three acts Libretto: Johann Gottlieb Stephanie d. J. (nach Christoph Friedrich Bretzner) Première: 16. Juli 1782, Wien, Burgtheater Edition: Gerhard Croll (New Mozart Edition) Ort und Zeit der Handlung: Landgut des Bassa Selim in der Türkei, Mitte des 16. Jahrhunderts |
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Characters: Selim, Bassa Konstanze, Geliebte des Belmonte Blonde, Mädchen der Konstanze Belmonte Pedrillo, Bedienter des Belmonte und Aufseher über die Gärten des Bassa Osmin, Aufseher über das Landhaus des Bassa Klaas, ein Schiffer Ein Stummer, Wache |
Sprechrolle Sopran Sopran Tenor Tenor Bass Sprechrolle stumme Rollen |
Chor: Janitscharen Orchestra: Picc,2,2,2,(also 2 Bassett Horns),2 – 2,2,0,0 – Pk,Schlg – Str Duration: ca. 2h 30’ BA 4591 Full score (NMA II/5/12) StudienStudy score d’étude (TP 311) Vocal score (BA 4591-90) on sale Our new vocal score and the orchestral parts have been brought up to date on the basis of the critical report published in 2002. In keeping with the present state of the sources, there are two alternative versions of the Janissary Chorus: Version A from the conductor’s copy, and Version B from Mozart’s autograph score. The Marcia (No. 5a), being of questionable authenticity, is now reproduced in the appendix. |
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L’Oca del Cairo K. 422 The Goose of Cairo Dramma giocoso per musica (1783) Libretto: Giovanni Battista Varesco Première: 1860, Frankfurt a.M. (konzertant); 1867, Paris und Berlin (szenisch) Arrangement: Instrumentation completed by August Schmidt-Lindner; auf deren Grundlage musikalisch eingerichtet von Willi Wähler Translations: Willi Wähler (dt. = Fassung A), Helge Thoma (dt. = Fassung B) Edition: Friedrich-Heinrich Neumann (New Mozart Edition) Ort und Zeit der Handlung: Ripasecca, die am Meer gelegene Hauptstadt des Herzogtums |
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Characters (Version A): Don Pippo, Marchese von Ripasecca; in Lavina verliebt Donna Pantea, seine Gattin, unter dem Namen Sandra; von Don Pippo totgeglaubt Celidora, einzige Tochter beider; vom Vater zur Gattin des Grafen Lionetto von Casavuota bestimmt, jedoch verliebt in Biondello Biondello, ein reicher Edelmann aus Ripasecca Calandrino, Donna Panteas Neffe, Freund Biondellos und erhörter Liebhaber Lavinas Lavina, Gesellschafterin Celidoras Chichibio, Haushofmeister bei Don Pippo, Liebhaber Aurettas Auretta, Kammerjungfer bei Donna Pantea |
Bass Sopran Sopran Tenor Tenor Sopran Bass Sopran |
Chor: Perückenmacher, ein Schneider, ein Schuhmacher, Seeleute mit Anlegepersonal, Marktschreier, Volk, Hofbedienstete des Don Pippo, Diener des Biondello, Soldaten (Burgwache) |
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Characters (Version B): Don Pippo, ein reicher Edelmann Celidora, seine Tochter Chichibio, Haushofmeister bei Don Pippo Lavina, seine Tochter Biondello, Liebhaber Celidoras Calandrino, Liebhaber Lavinas Auretta, die Gans, verwandelte arabische Prinzessin |
Bass Sopran Bass Sopran Tenor Tenor Sopran |
Chor: zwei arabische Sklaven, zwei Kriminalbeamte bzw. Polizisten, Diener und Mägde Don Pippos Orchestra: 2,2,0,2 – 4,2,0,0 – Timpani – Str Duration: ca. 1h BA 4520 Full score (NMA II/5/13), on sale Mozart’s L’Oca del Cairo is fragmentary in a dual sense of the term: first, Mozart only set parts of Varesco’s libretto, and second, the surviving numbers are not fully orchestrated. The volume in the complete edition presents Mozart’s sketches in facsimile and transcription. The aria and terzetto Siano pronte (No. 4), which was not discovered until after the edition was finished, has been incorporated in the present stage version. |
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Der Schauspieldirektor K. 486 The Impresario Komödie mit Musik in einem Akt Libretto: Johann Gottlieb Stephanie d. J. Première: 7. Februar 1786, Schloss Schönbrunn (bei Wien) Edition: Gerhard Croll (New Mozart Edition) Ort und Zeit der Handlung: Zimmer des Frank, etwa 1785 |
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Characters: Frank, Schauspieldirektor Eiler, ein Bankier Buff, Schauspieler Herz, Schauspieler Madame Pfeil, Schauspielerin Madame Krone, Schauspielerin Madame Vogelsang, Schauspielerin Monsieur Vogelsang, ein Sänger Madame Herz, Sängerin Mademoiselle Silberklang, Sängerin |
Sprechrolle Sprechrolle Bass Sprechrolle Sprechrolle Sprechrolle Sprechrolle Tenor Sopran Sopran |
Orchestra: 2,2,2,2 – 2,2,0,0 – Timpani – Str Duration: ca. 1h BA 4512 Full score (NMA II/5/15), Vocal score (BA 4512-90) on sale The Impresario is one of the two works that Emperor Joseph II commissioned for a festivity held at Schönbrunn Palace in 1786 in honor of the Dutch Governor-General. It represents a contest between Italian opera buffa and German singspiel. Mozart’s musical “adversary” was none other than Antonio Salieri, whose Prima la musica e poi le parole, on a libretto by Giambattista Casti (for a new critical edition see BA 7698), was premiered on the same day. Mozart wrote the overture, the two arias, the terzetto and the vaudeville of Stephanie’s comedy in the amazing brief period between 18 January and 3 February 1786 in the midst of composing Marriage of Figaro. Our edition presents the complete original text of these numbers. The favored position of Italian opera in Vienna was probably one of the reasons that the Casti-Salieri team emerged victorious from the contest. |
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Le nozze di Figaro K. 492 The Marriage of Figaro Opera buffa in four acts Libretto: Lorenzo Da Ponte (nach Pierre Augustin Varon de Beaumarchais) Premières: 1. Version: 1. Mai 1786, Wien, Burgtheater; 2. Version: 29. August 1789, Wien, Burgtheater Translations: Kurt Honolka (German), Nicolaus Brieger and Friedemann Layer (German) Edition: Ludwig Finscher (New Mozart Edition) Ort der Handlung: Im Schloss des Grafen Almaviva |
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Characters: Der Graf Almaviva Die Gräfin Almaviva Susanna, Verlobte des Figaro Figaro Cherubino, Page des Grafen Marcellina Bartolo, Arzt in Sevilla Basilio, Musiklehrer Don Curzio, Richter Barbarina, Tochter des Antonio Antonio, Gärtner des Grafen und Onkel der Susanna |
Bariton Sopran Sopran Bass Sopran Sopran Bass Tenor Tenor Sopran Bass |
Chor: Landleute, Bäuerinnen, Personen verschiedenen Standes, Diener Orchestra: 2,2,2,2 – 2,2,0,0 – Timpani – Str – Bc Duration: ca. 3h BA 4565 Full score (NMA II/5/16) Klavierauszüge / Vocal scores / réductions piano-chant (BA 4565-90; ital./dt.: Kurt Honolka. BA 4565-92; ital./dt.: Nicolaus Brieger und Friedemann Layer) on sale The first two performances of Figaro came off with great success under Mozart’s direction, with a cast of sterling performers even by Viennese standards. The success of the later performances grew to such an extent that the emperor felt compelled to issue an edict: to keep the length of the performance within reasonable bounds, only solo numbers were allowed to be encored. Yet the initial euphoria quickly wanted, one reason perhaps being the cabal launched against the work by Casti and his supporters. The Viennese revival in 1789, the year of the French Revolution, brought forth two new numbers from Mozart but ended after one performance. In 1786-7 Figaro was also heard in Prague, where it was received with an enthusiasm unmatched anywhere else. It established the composer’s fame in Prague and eventually led to the commission for Don Giovanni. |
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Il dissoluto punito ossia Il Don Giovanni K. 527 The Libertine Punished or Don Giovanni Dramma giocoso in two acts Libretto: Lorenzo Da Ponte Première: 29. Oktober 1787, Prag, Gräflich Nostitzsches Nationaltheater Translation: Walther Dürr (German) Edition: Wolfgang Plath and Wolfgang Rehm (New Mozart Edition) Ort und Zeit der Handlung: Ort in Spanien, Mitte 17. Jahrhundert |
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Characters: Don Giovanni, junger und ausserordentlich zügelloser Edelmann Il commendatore, Kontur Donna Anna, Edeldame, seine Tochter, Verlobte des Don Ottavio Don Ottavio Donna Elvira, Edeldame aus Burgos, von Don Giovanni verlassen Leporello, Diener Don Giovannis Masetto, Liebhaber der Zerlina Zerlina, Bäuerin |
Bariton Bass Sopran Tenor Sopran Bass Bass Sopran |
Chor: Bauern, Bäuerinnen, Musikanten, Diener Orchestra: 2,2,2,2 – 2,2,3,0 – Timpani – Md – Str – Bc / on stage: 0,2,2,2 – 2,0,0,0 – Str Duration: ca. 2h 45’ BA 4550 Full score (NMA II/5/17), StudienStudy score d’étude (TP 279; ital./dt.), Vocal score (BA 4550-90; ital./dt.) on sale Our volume centers on the version given at the Prague première in 1787, with its well-established musical text and dramatic structure. The scenes and numbers composed for the 1788 Vienna production are placed in the appendix of both the full score and vocal score, with some of the recitatives being published here for the first time. The newly engraved orchestral material contains all alternative versions in the order of their performance, including all the “vi-de” cuts in the Vienna version as documented in the new critical report. Performers are thus given the complete surviving material for both versions of Don Giovanni. The purpose of our edition is to draw general attention to the musical and dramatic unity of the original version composed in 1787 for the Nostitz National Theater in Prague. |
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Così fan tutte ossia La scuola degli amanti K. 588 All Women do the Same, or The School for Lovers Dramma giocoso in two acts Libretto: Lorenzo Da Ponte Première: 26. Januar 1790, Wien, Burgtheater Translation: Kurt Honolka (German) Edition: Faye Ferguson and Wolfgang Rehm (New Mozart Edition) Ort der Handlung: Neapel |
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Characters: Fiordiligi, Dame aus Ferrara, Schwester Dorabellas, in Neapel wohnend Dorabella, Dame aus Ferrara, Schwester Fiordiligis, in Neapel wohnend Guglielmo, Liebhaber Fiordiligis Ferrando, Liebhaber Dorabellas Despina, Kammerzofe Don Alfonso, ein alter Philosoph |
Sopran Sopran Bass Tenor Sopran Bass |
Chor: Soldaten, Diener, Schiffsleute Orchestra: 2,2,2(also 1 Bassett clarinet),2 – 2,2,0,0 – Timpani – Str – Bc Duration: ca. 3h BA 4606 Full score (NMA II/5/18) StudienStudy score d’étude (TP 314) Vocal score (BA 4606-90; ital./dt.) on sale Mozart wrote this 650-page score in the space of a few months in autumn 1789. The opera originated during a period of great financial strain, and the autograph reveals signs of labor in an unusually high concentration by Mozart’s standards. Mozart gave the title “Così fan tutte” to his opera, while Da Ponte preferred “La scuola degli amanti” for the libretto. As a compromise, the libretto printed in 1790 bore the title “Così fan tutte ossia La scuola degli amanti”, by which the work is known today. |
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Die Zauberflöte K. 620 The Magic Flute A German opera in two acts Libretto: Emanuel Schikaneder Première: 30. September 1791, Wien, Freihaustheater auf der Wieden Edition: Gernot Gruber and Alfred Orel (New Mozart Edition) Ort der Handlung: 1. Akt im Reich der Königin der Nacht, 2. Akt im Reich Sarastros |
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Characters: Sarastro Tamino Sprecher Erster Priester Zweiter Priester Dritter Priester Königin der Nacht Pamina, ihre Tochter Erste Dame Zweite Dame Dritte Dame Erster Knabe Zweiter Knabe Dritter Knabe Ein altes Weib (Papagena) Papageno Monostatos, ein Mohr Erster geharnischter Mann Zweiter geharnischter Mann Erster Sklave Zweiter Sklave Dritter Sklave |
Bass Tenor Bass Bass Tenor Sprechrolle Sopran Sopran Sopran Sopran Sopran Sopran Sopran Sopran Bass Tenor Tenor Bass Sprechrolle Sprechrolle Sprechrolle |
Chor: Priester, Sklaven, Gefolge Orchestra: Picc,2,2,2,2Bassett horns,2 – 2,2,3,0 – Pk,Glsp – Str Duration: ca. 3h BA 4553 Full score (NMA II/5/19), StudienStudy score d’étude (TP 155) Vocal score (BA 4553-90), on sale Mozart was substantially involved in the final version of the libretto to The Magic Flute. Here Schikaneder turned to the genre of magic opera, adding a large amount of comedy, elements of fantasy and exoticism, and often spectacular stage effects to satisfy the tastes of Viennese audiences. Yet Mozart’s opera also projects the humanistic ideals of Freemasonry, greatly elevating the genre and improving the initially subdued reception given to the work itself. Soon the opera grew steadily more successful, with more than 20 performances taking place in October 1791 alone and more than 200 given in the Theater auf der Wieden by the beginning of 1801. Since then The Magic Flute has been one of Mozart’s most popular operas. Now the NMA performance material is being reissued with a polished new engraving. |
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La clemenza di Tito K. 621 The Clemency of Titus Opera seria in two acts Libretto: Caterino Tommaso Mazzolà (nach Pietro Metastasio) Première: 6. September 1791, Prag, Gräflich Nostitzsches Nationaltheater Translations: Kurt Honolka (German), Eberhard Schmidt (German) Edition: Franz Giegling (New Mozart Edition) Ort und Zeit der Handlung: Rom, 79 n. Chr. |
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Characters: Tito Vespasiano, Imperator von Rom Vitellia, Tochter des Imperators Vitellio Servilia, Schwester des Sesto, Geliebte des Annio Sesto, Freund des Tito, Geliebter der Vitellia Annio, Freund des Sexto, Geliebter der Servilia Publio, Präfekt der Prätorianer |
Tenor Sopran Sopran Sopran Sopran Bass |
Chor: Senatoren, Gesandte der unterworfenen Provinzen, Liktoren, Prätorianer, Patrizier, Volk Orchestra: 2,2,2(1. doubles on Bassett clarinet),Bassett horn,2 – 2,2,0,0 – Timpani – Str – Bc Duration: ca. 2h BA 4554 Full score (NMA 11/5/20), Vocal scores (BA 4554-90; ital./ger.: Kurt Honolka) on sale Mozart wrote this score in the space of half a year. The deadline pressure was so great that he was allegedly forced to subcontract the secco recitatives to his pupil Franz Xaver Süssmayr. After the lukewarm success of the première, the opera quickly became more and more popular and soon rivaled Don Giovanni and The Magic Flute as the composer’s most successful opera. From roughly 1820 to the turn of the century it fell almost entirely into oblivion. It was not until the 1960s that La Clemenza di Tito witnessed a renaissance. Since then it has once again been a pillar of the operatic repertoire. |
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