{"value"=>"<p>The scores are in two parts: marked and unmarked. The marked scores consist primarily of published piano/vocal reductions of operas, operettas and musicals. These include Beethoven's Fidelio; Bellini's La Sonnambula; Debussy's Pelléas Et Mélisande; Donizetti's Don Pasquale, Lucia Di Lammermoor, Lucrezia Borgia and The Elixir Of Love; Gluck's Orpheus; Gounod's Romeo Et Juliette; Mendelssohn's Elijah; Meyerbeer's Dinorah, Gli Ugonotti and La Pardon De Ploërmel; Mozart's Cosi Fan Tutte; Puccini's La Bohéme, Rodgers & Hammserstein's Carousel; Rossini's Il Barbiere Di Siviglia; Strauss's Die Fledermaus; and Verdi's La Traviata.</p> <p>Other marked scores consist of pieces used by Peters in performance with orchestras or in piano/vocal recitals. These consist of copyist scores and parts for unpublished (or limited publication) pieces for soprano and orchestra or piano. These include A Dream of Venice by H. Rauscher; Thema und Variazionnen, Op. 164 by H. Proch; Sacred Songs For Pantheists by Robert Ward; The K'dusha Symphony (Sanctification) by Abraham Kaplan; and Lieder un Duette by Engelbert Humperdinck.</p> <p>The unmarked scores consist of more pieces used by Peters in non-operatic performances. These include copyist scores and parts for From Dawn To Night (A Cycle of Five Poems with Orchestral Accompaniment), music by Dalmazio Santini, words by Paul Lawrence Dunbar; Il Bacio by S. Arditi; Six Songs for High Voice and Orchestra by Ned Rorem (piano/vocal score only); and Partitur of Long Long Ago by Thomas Haynes.</p>"}