Piano,Vocal,Voice - Advanced Intermediate - Digital Download SKU: A0.502406 Composed by Misha Stefanuk. Broadway,Contemporary,Folk,Musical/Show. Score. 123 pages. Published by Misha Stefanuk (A0.502406). An American Story: George Gershwin is a brief, jazz-infused opera in one act on the subject of George Gershwin, one of America's greatest and most influential composers. Although fictional, most of the opera's story is based upon biographical facts and direct quotes from George Gershwin's interviews and other sources.In this show, the audience is given a brief glimpse at the music and style of 1920s, when George and his brother, the champion lyricist, Ira Gershwin, were first starting to experience great success the world over. Their Broadway shows were in high demand, and many of them were made into lucrative Hollywood movies. Their shows are still often performed today.An American Story opens with a scene in which George and Ira are working through a piece they have written and are discussing their successes of the past year, including George's appearance on the cover of Time magazine. The operagoes on to introduce two female characters including Kay Swift, who was a significant composer at the time, as well and a strong influence upon George.Gertrude Lawrence, the British singer for whom George and Ira Gershwin wrote the musical Oh, Kay! also appears later in the opera, when she rehearses with George.An American Story: George Gershwin is The New Opera's second work dedicated to popularizing the life stories of historical and cultural figures, following Wolfy, an opera focusing on the life of Wolfgang Amadeus Mozart. This helps further The New Opera's mission to cultivate a growing interest in artistic and musical subjects for audiences of all ages and social levels and extend our enthusiasm for outstanding achievement in the arts.Complete You tube playlist can be found here https://www.youtube.com/playlist?list=PLUIlJVpmilpf_2ikBsnqhccqxAa4Gyy2x

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1353635 Composed by Philip Seward. 21st Century,Broadway,Chamber,Contemporary,Musical/Show,Opera. Score. 79 pages. Music Anon #938378. Published by Music Anon (A0.1353635). Music by Philip Seward • Libretti by Joan Mazzonelli & Philip SewardThis volume offers four scenes for women singers for use in opera scene study and performance. There are a wide range of characters represented and various musical styles. The first is from High Fidelity which has been adapted from Anton Chekhov’s The Bear and George Bernard Shaw’s How He Lied to Her Husband. There are also references to Wolfgang Amadeus Mozart’s Cosí fan tutte later in the score. In this opening scene, Aurora Wentworth is practicing the mourning she believes society expects of her while her cousin, Georgina, from Milwaukee arrives to spice up the summer morning.The second scene from Dorabella’s Daughters finds Anabella trapped in a woodsman’s cottage the day after her wedding. The opera opens at the wedding reception for her stepsister Cinderella where Annabella is particularly spiteful. In a fury, she marries the next man who walks in the room — as it happens,  a woodsman — or so she thinks. In this scene she is mourning her fate. Her younger sister, Brendella comes to visit and the two are joined later by their very happy stepsister, Cinderella.The third scene from The Passion of John presents three women with their own perspectives on Jesus in this stylized presentation of the Gospel of John. The first singer offers the perspective of the gospel, the second presents a firsthand narrative of the Samaritan woman and the third is the woman who was accused of adultery. All three are accompanied by a women’s choral ensemble, flute, classical guitar and cello.The final scene in this collection comes from The Proposal. The opera is composed as two loosely joined acts where the first is sung by four women and the second by three men. The action concerns the aftermath of a proposal of marriage where the woman, Eve, asks for time to consider. The unexpected response sends Sam into a bit of a tailspin. In this scene, from the end of the first act Eve is arguing with three versions of herself in the middle of the night: the romantic, the maternal and the one focused on career. The scene opens right after Eve-Romantic has just waxed poetic about the perfect fairytale romance.