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187556338Paris: Librairie Illustrée 1875. Octavo 27cm. Marbled paper over boards backed in green cloth titled in gilt on spine; iv viii 226 2pp; 6 full-page character illustrations colored in pochoir and numerous in-text wood engravings; with 7pp of printed music for songs by Offenbach. A straight sturdy copy externally rubbed corners exposed mildly foxed: just Very Good.<br /> <br /> La Vie Parisienne first produced in 1866 was one of Offenbach'st most popular operattas. This edition coincides with the 1875 revival production at the Théâtre de Variétés. Librairie Illustrée unknown
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186625827Paris: E. Heu PN E.H. 742 1866. Octavo. Dark red morocco-backed red textured cloth with blindstamped panel raised bands on spine in ruled compartments gilt with titling gilt marbled endpapers. 1f. recto title printed in sepia within decorative border verso blank 1f. recto named cast list and table of contents verso blank 1 blank 2-291 i blank pp. Lithographed.<br /> <br /> Named cast includes Brasseur Hyacinthe Gil Pérès Priston Lassouche Martal and Ferdinand Zulma Bouffar C. Montaland Honorine Thierret Paurelle Massin Bedard Breton and Henry. <br /> <br /> Publisher's and musicseller's handstamps to lower portion of title.<br /> <br /> Binding slightly worn rubbed bumped and soiled. Some signs of internal wear; browned; light to moderate foxing; some dampstaining to outer margins; trimmed. First Edition first issue. Lesure II p. 218. OCLC 82470995.<br /> <br /> La vie parisienne to a libretto by Henri Meilhac and Ludovic Halévy was first performed in Paris at the Théâtre du Palais-Royal on 31 October 1866.<br /> <br /> "The work was written in anticipation of the crowds visiting Paris for the 1867 Exhibition and proved one of the hits of the season. It was composed not for Offenbach's usual company but for that of the Palais-Royal which comprised actors as much as singers - strengthened for the occasion by one of Offenbach's favourite players Zulma Bouffar as the glovemaker Gabrielle. The piece recognizes the company's limitations with music that is vocally less extensive and demanding than that Offenbach wrote for the Théâtre de la Gaîté. The musical strength lies rather in the sparkling orchestral melodies - above all waltzes galops and can-cans which allied to a humorous libretto that was Meilhac and Halévy at their best has made the work a perpetual favourite as a symbol of Second Empire gaiety. By the time the piece was revived at the Théâtre des Variétés on 25 September 1873 the fourth of the five acts had been dropped but it is still sometimes included as for instance at Sadler's Wells Theatre in 1961." Andrew Lamb in Grove Music Online. E. Heu [PN E.H. 742] unknown
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