Opera Performances Materials For Hire

We have scores and orchestral parts available for hire for the following operas:

  • The Bohemian Girl (Balfe) - full score and parts - this matches the Boosey Royal edition of the vocal score
  • Falstaff (Balfe) - full score, parts and the (newly typeset) vocal score  
  • The Maid of Artois (Balfe) - full score and parts
  • Raymond and Agnes (Loder) - only the (newly typeset) vocal score is available at the moment, though individual items would be possible
  • Robin Hood (Macfarren) - full score and parts
  • The Boatswain's Mate (Smyth)
    Smyth made ’popular’ reduced orchestrations (‘A’ and ‘B’) from the original full version (the ‘B’ version is for just 11 players plus 3 for the on-stage band). We can offer all 3 versions, but do note that for the ‘popular’ versions, Smyth cut the Intermezzo between Parts 1 and 2, and some of Part 2 Scene 8. The vocal score is available via IMSLP, so only the full scores and parts are available.
  • We also welcome enquiries about Lurline (Wallace)

... and overtures (full score and parts):

  • The Mountain Sylph (Barnett)
  • The Night Dancers (Loder) (reconstructed by Valerie Langfield)
  • She Stoops to Conquer (Macfarren)
  • The Boatswain's Mate (Smyth) - we can offer 3 versions: full orchestral, and reduced ‘A’ and reduced ‘B’- please see above for more information
  • The Golden Web (Goring Thomas)
  • The Amber Witch (Wallace)
We can provide single items from the operas, including Non v’e donna’, from Balfe’s Falstaff, and ‘I dreamt I dwelt in Marble Halls’, from his Bohemian Girl.

We also have the following arias:

  • From The Amber Witch (Wallace):
    • My Long Hair is Braided
    • Haughty Maid

    For information about fees and other details please contact us at contact@retrospectopera.org.uk

    Vocal scores for some of these operas are available on IMSLP (see http://imslp.org/wiki/Category:Composers). Vocal scores of the period often have typographical errors in them, are sometimes hard to read and at times don’t actually match the original full score. Very, very gradually, we are producing newly typeset vocal scores which match the other performing materials.

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