The opera that inaugurated Milan’s Teatro alla Scala in 1778, the edition was performed
in occasion of the theatre’s re-inauguration following its refurbishment in 2004,
conducted by Riccardo Muti.
Corisandre, ou les foux par enchantement, Opéra Ballet (Comédie-Opéra) by Honoré
Langlé. The edition of this opera by the eighteenth century monegasque composer Honoré
Langlé was completed for the Opéra de Monte-Carlo for the inaugural season of Monaco’s
newly refurbished Salle Garnier in 2005, but still awaits performance.
Together with the orchestra Concerto Köln, Eric Hull is currently researching the
works of Napoleonic Maltese composer Nicolò Isouard, in particular his most well
know work, Cendrillon.
Acutely aware of the frustration and confusion caused to the performer by over-abundant
editorial intervention, but also aware of the necessity for maximum efficiency in
modern-day performing situations, Eric Hull usually publishes both a Critical Edition
as well as a Performing Edition of the same work, leaving the choice of performance
material up to the performer, based on how much editorial input he desires. Of course,
all intervention is fully and clearly documented, and the performance material is
printed using the most recent computer technology.
The Critical Edition is meant as a performing edition for modern theatres requiring
maximum efficiency, but without interfering with the performer’s right to decide
subjective interpretative matters for himself. Editorial intervention has been kept
to a minimum, limiting itself to clarification, correction and realization, with
any major additions or changes clearly identified.
The Practical Edition is a subsequent edition built upon the previous Critical Edition.
This edition is usually specific to a production in which Eric Hull will be conducting,
but may be used in situations in which the performers prefer to accept the editor’s
subjective interpretational decisions. Anxious to keep editorial and interpretational
criteria very separate and identifiable, the aim in this Practical Edition is to
save both the aggravation and the precious rehearsal time involved in getting historicmusical style in a modern professional situation. Much of what would have come naturally
to a period performer has been made explicit for the modern performer (notably dynamics
and agogical emphasis), and personal interpretative directorial preferences have
been printed directly into the vocal score and orchestral parts.
The unfamiliarity with a work which has not been performed in centuries presents
considerable difficulties and obstacles to Theatre Directors, agents and performers
interested in programming or casting the work. For this reason, all editions are
complete with the following guides, so that all pertinent information is close at
Synopsis and annotated Clean copy libretto
List of Characters, precise and precise Role/Vocality Descriptions with exact tessiture
Orchestra and Ballet requirements
Critical Notes and Editorial Parameters
An audio recording of the computer playing from the MIDI files
Eric Hull’s quest for stylistic clarity in his performances has led to the parallel
and complimentary activity of preparing musical editions available for print, performance
and recording based on principal primary contemporary sources and treatises.