Stage works


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)

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.


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

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.



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

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.



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

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.



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

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.



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

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.



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)

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.



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

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.



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.
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.



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

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.



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.
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.



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

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.



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

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.



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

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.



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

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.



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

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)

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.



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

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.



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

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.



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

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.



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

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.



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

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.



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.

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.