This widely praised publication of the work of a key figure in the history of opera provides the most reliable version of the score for each opera, appending a translation of the libretto. La Statira is the ninth opera available in the edition, which is under the general editorship of Donald Jay Grout.

La Statira was first performed in Rome in January 1690, to inaugurate the carnival season for that year. The opera, with libretto by Cardinal Ottoboni, recounts the story of Alexander the Great’s defeat of Darius, King of Persia, and his love for Statira, daughter of Darius. Alexander’s bravery and magnanimity were favorite subjects of operatic librettists in the seventeenth and eighteenth centuries. In his Introduction, William Holmes sketches the opera’s history and discusses performance questions.

Donald Jay Grout’s widely praised edition of the work of a key figure in the history of opera provides the most reliable version of the score for each opera, appending a translation of the libretto. These volumes are “at once practical and unquestionably scholarly” in the words of Opera Journal.

A tale of love and honor in the opera seria tradition, Tigrane was first performed at Naples in 1715. This edition of it will please performance groups and music historians alike.

This acclaimed edition is making available authentic versions of the works of a key figure in the history of opera.

Gli Equivoci nel Sembiante (1679), Alessandro Scarlatti’s first opera, is a comedy of mistaken identities and amorous intrigues in the pastoral mode. It was one of the most popular and widely performed works of the composer’s long career. A small cast and simple scenic requirements make it an ideal work for performances today.

In preparing the score presented here, Frank A. D’Accone compared the six extant manuscripts. His Introduction sketches the opera’s history and discusses performance practice. A translation of the libretto is appended.

Pierre Boulez is one of the most influential—and controversial—figures in the world of contemporary music. As composer, conductor, and critic, his challenging views of modern developments are lent a special authority by his high standing as an interpreter of classic composers. Orientations will enhance his reputation as a lucid expositor of the modern composer's world.

When writing about composing and analysis Boulez forges a new way of thinking about music. He is immensely illuminating about his own compositions. He offers special insight on composers with whom he has been particularly associated as a conductor—including Berlioz, Debussy, Wagner, Mahler, Schoenberg, Stravinsky, and Messiaen. And he writes about performance and orchestras, tackling the question of how to make new music more familiar for the concert-goer. This rich and wide-ranging volume is truly a special resource for everyone wanting to learn more about twentieth-century music.