Mosè in Egitto Vocal Score based on the Critical Edition Set of Two Books 在埃及的摩西 声乐总谱 声乐

莫塞在埃吉托》（Mosè in Egitto，1818 年）是罗西尼在 1815 年至 1822 年间为那不勒斯创作的九部系列作品中的第四部。从罗西尼写给母亲的信中可以看出，罗西尼为这部歌剧感到非常自豪，认为这是一部特别优秀的作品，可能更能吸引后人，而不是当时的观众。事实上，这也是他最常演出的系列歌剧之一。本缩写本为声乐和钢琴曲，共两卷，源自罗西尼-佩萨罗基金会与里科迪之家合作出版的乐谱评论版，作者为查尔斯-布劳纳（Charles S. Brauner）：该版本主要基于现藏于巴黎法国国家图书馆的亲笔乐谱。该亲笔签名乐谱是完整的，但并不完全是亲笔签名，许多部分给文本的重建带来了一些问题：第一幕的朗诵和第二幕的咏叹调 Mosè并非出自罗西尼之手，第二幕的前五段朗诵并非出自罗西尼之手，可能是也可能不是出自罗西尼之手，同样并非出自罗西尼之手的还有咏叹调 Amaltea，尽管这无疑是出自罗西尼之手，因为它借用了罗西尼早期的歌剧《Ciro in Babilonia》。序言》和《评论》首次提供了一些有效的工具来重建歌剧的整个历史，从那不勒斯首演（1818 年和 1819 年）到巴黎首演（1822 年至 1840 年）。附录中特别收录了米歇尔-卡拉法（Michele Carafa）为 1818 年和 1819 年在那不勒斯首演的两部歌剧创作的原版咏叹调 "法罗内"（Aria Faraone），后来被罗西尼自己于 1820 年创作的咏叹调 "法罗内"（Aria Faraone）所取代；附录二中还收录了罗西尼为 1822 年之后在巴黎的一次演出创作的第 3 二重奏之后的新的朗诵结尾"

作曲家: Gioacchino Rossini
校订者: Charles S. Brauner
乐器: Vocal; Piano Accompaniment
出版社: Ricordi
原文简介:
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.