Mosè in Egitto Vocal Score based on the Critical Edition Set of Two Books 在埃及的摩西 聲樂總譜 聲樂

莫塞在埃吉托》（Mosè in Egitto，1818 年）是羅西尼在 1815 年至 1822 年間為那不勒斯創作的九部系列作品中的第四部。從羅西尼寫給母親的信中可以看出，羅西尼為這部歌劇感到非常自豪，認為這是一部特別優秀的作品，可能更能吸引後人，而不是當時的觀眾。事實上，這也是他最常演出的系列歌劇之一。本縮寫本為聲樂和鋼琴曲，共兩卷，源自羅西尼-佩薩羅基金會與裡科迪之家合作出版的樂譜評論版，作者為查理斯-布勞納（Charles S. Brauner）：該版本主要基於現藏於巴黎法國國家圖書館的親筆樂譜。該親筆簽名樂譜是完整的，但並不完全是親筆簽名，許多部分給文本的重建帶來了一些問題：第一幕的朗誦和第二幕的詠歎調 Mosè並非出自羅西尼之手，第二幕的前五段朗誦並非出自羅西尼之手，可能是也可能不是出自羅西尼之手，同樣並非出自羅西尼之手的還有詠歎調 Amaltea，儘管這無疑是出自羅西尼之手，因為它借用了羅西尼早期的歌劇《Ciro in Babilonia》。序言》和《評論》首次提供了一些有效的工具來重建歌劇的整個歷史，從那不勒斯首演（1818 年和 1819 年）到巴黎首演（1822 年至 1840 年）。附錄中特別收錄了蜜雪兒-卡拉法（Michele Carafa）為 1818 年和 1819 年在那不勒斯首演的兩部歌劇創作的原版詠歎調 "法羅內"（Aria Faraone），後來被羅西尼自己於 1820 年創作的詠歎調 "法羅內"（Aria Faraone）所取代；附錄二中還收錄了羅西尼為 1822 年之後在巴黎的一次演出創作的第 3 二重奏之後的新的朗誦結尾"

作曲家: Gioacchino Rossini
校訂者: Charles S. Brauner
樂器: Vocal; Piano Accompaniment
出版社: Ricordi
原文簡介:
Mosè in Egitto (1818) is the fourth of the nine opere serie that Rossini composed for Naples between 1815 and 1822. As his letters to his mother show, Rossini was very proud of this opera, considering it an especially fine achievement that might appeal more to posterity than to the audiences of his day. In fact, it proved to be one of his most frequently performed opere serie. The present reduction for voice and piano, in two volumes, derives from the critical edition of the score, published by Fondazione Rossini Pesaro in collaboration with Casa Ricordi by Charles S. Brauner: the edition is based mainly on the autograph score now housed in the Bibliothèque nationale de France in Paris. This autograph score is complete but it is not completely autograph and many sections have offered some problems for the reconstruction of the text: the recitative in Act I and the Aria Mosè in Act II arenot by Rossini, the first five recitatives in Act II are not in Rossini's hand and may or may not be by Rossini, also not in Rossini's hand is the Aria Amaltea, although undoubtedly by Rossini because borrowed from his earlier opera Ciro in Babilonia. The Preface and the Critical Commentary offer for the first time some valid tools to reconstruct the entire history of the opera, since the first performance in Naples (1818, 1819) to the Parisian ones (1822 - 1840). In particular in the appendices are included the original Aria Faraone which, composed by Michele Carafa for the first two productions of the opera in Naples in 1818 and 1819, was later replaced by the Aria Faraone Rossini himself composed in 1820 and, in Appendix II, the new ending of the recitative following Duetto N. 3 which Rossini composed for one of the Parisian performances, after 1822.