53 résultats
185426743Roma: Tipografia dell Rev. Cam. Apostolica 1854. Small octavo. Modern marbled wrappers. 1 title 2 "Direttori della Musica" 3-26 1f. printer's note pp. With decorative woodcut device to p. 26.<br/><br/>Minor foxing heavier to endpapers. Probable First Edition. Rare. Worldcat 2 copies only at the Universities of Chicago and Dayton. OCLC no. 57468047.<br/><br/>Luigi Moroni Gaetano Capocci and Giuseppe Negri are named as the "Direttori della Musica." Negri has provided the libretto for four of Verdi's works and one each for Rossini and Donizetti. Two more texts by Salvatore Martini are set to music by Moroni and Mercadante.<br/><br/>Verdi's first contribution "Salve o Madre: un sacro patto tutti stringe i figli tuoi" comes from the opening chorus of La Battaglia di Legnano 1849; the second "Silenzio misterio" from the opening chorus of I due Foscari" 1844; and the third "Plaudiam di letizia" from the opening chorus of the Act I finale of Stiffelio 1850. We have been unable to identify Verdi's final contribution "Regina dell' alme" Rossini's "Pura stella-del mattino" Mercadante's "Sacro alla pace degli eletti" and Donizetti's cantata "Celeste un' aura dal tempio move." <br/><br/>An intriguing source of libretti for little known works of some of the 19th century's most renowned composers.<br/><br/>We would like to thank Dr. Philip Gossett for his kind assistance in the cataloging of this item. Tipografia dell Rev. Cam. Apostolica unknown books
184631251Napoli: B. Girard e C. PNs 1835 4609-17 2150-2 1867-9 1827-33 1891-3 1846. Oblong folio. Dark brown morocco-backed textured red paper boards titling and decorative device gilt to spine. 1f. recto title verso cast list table of contents 3-154 1f. recto title verso blank 157-227 pp. Each number with separate caption title and pagination. Engraved.<br/><br/>Title includes an index of pieces with individual plate numbers and prices including alternate versions and chamber arrangments.<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding moderately worn rubbed and bumped; scattered defects and stains; large gouge to lower. Title split at gutter; light scattered foxing; minor dampstaining to right margin of first few leaves and to lower margin throughout; page number "99" used twice. An early edition later issue. Inzaghi IN. 35 pp. 150-2. Girard's first edition of Anna Bolena was issued circa 1831 shortly after its premiere and publication by Ricordi. This later edition contains a mix of old and new plates and was printed when Girard was located on Strada Toledo between 1837 and 1846.<br/><br/>Anna Bolena was composed to a libretto by Felice Romani after Ippolito Pindemonte's Enrico VIII ossia Anna Bolena 1816 and Alessandro Pepoli's Anna Bolena 1788. The opera was first performed in Milan at the Teatro Carcano on December 26 1830. <br/><br/>"This was Donizetti's first great international success giving him his initial exposure to Paris and London audiences. Pasta Anne and Rubini Percy sang in the première. Immensely popular for almost half a century it re-entered the modern repertory following a triumphant revival at La Scala with Callas in 1957. Since then the work has proved a favourite vehicle for such bel canto specialists as Sutherland Sills and Caballé. The final 20 minutes of Anna Bolena reveals for the first time Donizetti's mature ability to flesh out an ariafinale so that it provides the substance of a gripping scene. Nothing Donizetti had done before approaches the scope and multiform intensity of this magnificent scene." William Ashbrook in Grove Music Online.<br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. B. Girard e C. [PNs 1835, 4609-17, 2150-2, 1867-9, 1827-33, 1891-3] unknown books
183525783Paris: Pacini PNs 2900-2915 1835. Folio. Half brown morocco with green doublure-patterned cloth boards raised bands on spine in compartments gilt with titling gilt green marbled endpapers. 1f. fine full-page lithographic frontispiece portrait of Luigi Lablache as Henry VIII by Achille Devéria 1800-1857 printed by Lemercier 1f. title 1f. biography of Anna Bolena i thematic index and cast list 2-232 pp. Engraved.<br/><br/>Each piece with its own separate plate number. "Dixwell" in ink in manuscript in a contemporary hand to title and first preliminary leaf; "Esther B. Owen Buckland Connecticut 1889" in pencil to second preliminary leaf.<br/><br/>Binding somewhat worn and rubbed. Outer margins of some leaves slightly dampstained; occasional light foxing heavier to some leaves. First French Edition of the first version but c.f. OCLC nos. 82955319 498273921. OCLC no. 20150421. Lesure p. 333-334. Angeloni et al. p. 152.<br/><br/>Anna Bolena to a libretto by Felice Romani after Ippolito Pindemonte was first performed at the Teatro Carcano in Milan on December 26 1830. "This was Donizetti's first great international success giving him his initial exposure to Paris and London audiences. Pasta Anne and Rubini Percy sang in the première. Immensely popular for almost half a century it re-entered the modern repertory following a triumphant revival at La Scala with Callas in 1957. Since then the work has proved a favourite vehicle for such bel canto specialists as Sutherland Sills and Caballé." William Ashbrook in Grove Music Online. Pacini [PNs 2900-2915] unknown books
184031312Roma: Scip. De Rossi e C. 1840. Oblong folio. Sewn. 11 1 blank pp. Lithographed. <br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Slightly worn and browned; corners creased; minor foxing and staining throughout. An early edition published after the 1840 performance in Rome. Inzaghi IN. 35 p. 151. <br/><br/>The lithographer of the present edition Filippo Martelli was one of a number of lithographers active in Rome in the 1840s; he executed lithographic editions of a number of works for the publisher Scipione De Rossi. See Twyman: Early Lithographed Music p. 458. <br/><br/>Anna Bolena to a libretto by Felice Romani after Ippolito Pindemonte's Enrico VIII ossia Anna Bolena 1816 and Alessandro Pepoli's Anna Bolena 1788 was first performed in Milan at the Teatro Carcano on December 26 1830. <br/><br/>The duet "S'ei t'abbore" between Percy Riccardo and Anna comes near the end of the first Act and was sometimes replaced in performances. Ashbrook: Donizetti and his Operas pp. 617-618.<br/><br/>"This was Donizetti's first great international success giving him his initial exposure to Paris and London audiences. Pasta Anne and Rubini Percy sang in the première. Immensely popular for almost half a century it re-entered the modern repertory following a triumphant revival at La Scala with Callas in 1957. Since then the work has proved a favourite vehicle for such bel canto specialists as Sutherland Sills and Caballé." William Ashbrook in Grove Music Online.<br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. Scip. De Rossi e C. unknown books
030282Miami: Warner Bros. Publications. n.d. 283p. music original stiff wrappers with metal ring binding. Warner Bros. Publications unknown books
185331235Napoli: B. Girard e C.i PNs 3185 3192-3203 3065-3066 3075 3110-3111 1853. Oblong folio. Vellum-backed and edged boards with dark brown cloth laid down initials "C.G." gilt to upper titling to spine stamped in black original light pink publisher's printed wrappers bound in. 1f. recto title verso blank 3-21 A-I 23-78 1f. r. title v. blank 83-155 pp. Complete. Each number with separate caption title and pagination. Engraved.<br/><br/>Endpapers watermarked with a fleur-de-lis and "Michele Dupino Marmorato." With priced catalog "Opere Teatrali Intere" to upper wrapper listing works by Bellini Donizetti Rossini Verdi et al. composed through 1853 and with list of pieces with individual prices and plate numbers to title.<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding slightly worn bumped and scuffed. Minimal foxing throughout confined to edge of margins; a few small stains. An early edition later issue. Inzaghi IN. 56 pp. 175-7.<br/><br/>Some pieces have dual plate numbers and pagination on some pages that shared plates with abbreviated forms: "A si tremendo annunzio" PN 3067 3200 "Eterno Iddio!" PN 3069 3110 and "Da quel di che l'innocente" PN 3070 3111. While the individual plate numbers suggest a date circa 1836 Antolini 175 the title page lists Girard's address on Largo S Ferdinando their location from 1846. Furthermore the wrappers on this issue are issued under Stabilimento Musicale Partenopeo the name of publisher Girard beginning in 1853.<br/><br/>Belisario was composed to a libretto by Salvadore Cammarano after Luigi Marchionni's adaptation of Eduard von Schenk's Belisarius 1820. It premiered at the Teatro La Fenice in Venice on February 4 1836 and was dedicated to his friend Giovanni Agostino Perotti 1769/70-1855 composer and maestro di cappella at San Marco. <br/><br/>"Well and widely received during its first decade Belisario was however overtaken by the vogue for Lucia di Lammermoor which immediately precedes it in the Donizetti canon. That rarity an opera without a romantic love interest Belisario had problems sustaining its popularity because the prima donna's role is unsympathetic dramatically in spite of her brilliant arias in the first and last acts. The plot is in sum an uneasy mixture of classical and Romantic elements; but considering the eloquence of the music it drew from Donizetti it is fair to say that Belisario does not deserve the neglect into which it has largely fallen." William Ashbrook in Grove Music Online.<br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. B. Girard e C.i [PNs 3185, 3192-3203, 3065-3066, 3075, 3110-3111] unknown books
185033581Napoli: Stabilimento Musicale Partenopeo PNs 3205-10 3219 3590-1 3607 4054 4010-1 4207-8 1850. Oblong folio. 19th century dark red leather-backed green cloth boards with decorative devices gilt to spine; marbled endpapers. 123 pp. Each number with separate caption title and secondary pagination. Engraved. Printed note to title indicating the 5 pieces added to the original version.<br/><br/>With handstamp "Scuola di Canto dei Mo. Lombardini" to title and several pages throughout. Occasional performance markings in lead and blue pencil including notated vocal embellishments.<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981. <br/><br/>Binding slightly worn rubbed and bumped; remnants of paper label to spine. Lightly thumbed and foxed heavier to some leaves; several corners with tape repairs. First Edition later issue of the two-act version later issue. Inzaghi IN. 58 p. 178. Scarce 3 copies only outside Italy.<br/><br/>Betly or La capanna svizzera a dramma giocoso to Donizetti's own libretto after Scribe Mélesville and Goethe premiered in one act in Naples at the Teatro Nuovo on 21 August 1836. The present revised version in two acts was also premiered in Naples on 29 September 1837.<br/><br/>"Betly has a score full of unpretentious charm and a plot that works well on the stage. The role of Daniele is akin to that of Nemorino in L'elisir d'amore. The highlights of the score are Betly's solo moments: her sortita and her aria-finale the former particularly for its local colour with a yodel-like refrain." William Ashbrook in Grove Dictionary of Opera<br/><br/>Scores containing 19th century unpublished vocal embellishments are particularly interesting as they document contemporary performance practice. Stabilimento Musicale Partenopeo [PNs 3205-10, 3219, 3590-1, 3607, 4054, 4010-1, 4207-8] unknown books
33577Oblong folio. <br/><br/>Contains:<br/>- Gianni da Calais. Barcarola: Una barchetta in mar. Napoli: B. Girard e Ci. PN 819 ca. 1850. Original publisher's wrappers with catalogue to title. 6 pp. Engraved. Wrappers detached; slightly creased. Some wear; scattered light foxing. First Edition later issue.<br/><br/>- Marino Falliero. Aria: Bello ardir di congiurati. Roma: R. Gentilucci e C. PN 121 ca. 1836. 21 pp. Engraved.<br/>Spine reinforced with paper tape. Outer leaves somewhat worn foxed and soiled; light foxing and offsetting throughout. Rare Roman issue.<br/><br/>- Gemma di Vergy. Cavatina: Perchè Gemma soffra lieta. Napoli: B. Girard e Ci. PN 2833 1835. 7 pp. Engraved.<br/>Margins quite worn and frayed; leaves mostly detached; light foxing throughout. First Neapolitan edition issued shortly after that of Ricordi.<br/><br/>- Gemma di Vergy. Cavatina: Qui un pugnale! chi il confisse! Roma: Ratti e Ci. PN 561 1835. 9 pp. Lithographed. Margins somewhat worn; light staining to outer leaves. Rare Roman lithographed issue published the same year as the first Italian edition.<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981. unknown books
2005030283Milano: Ricordi 2005. Opéra en cinque actes de.Eugene Scribe. Riduzione per canto e painofort.a cura Mary Ann Smart. lxix 447p. music original stiff wrappers quarto format Opera vocal score series. Ricordi unknown books
184333507Wien: Ant. Diabelli und Comp. PN D. & C. No. 7642-59 1843. PROCH Heinrich 1809-1878 trans. Folio. Brown cloth-backed plain blue wrappers. 1f. recto title verso contents 1 cast list 2-285 1 blank pp. Engraved. Text in Italian and German.<br/><br/>Early signature "Josephine Rudolf" and handstamp "Musik-Antiquariat Karl Schwager" to title. <br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Wrappers worn and chipped. Occasional light foxing heavier to title; some offsetting; several leaves with paper tape repairs to blank margins; two lines on title underlined in red pencil. First German edition. Inzaghi IN. 75 p. 195. Scarce 2 copies located in the U.S. at Duke and the Library of Congress. <br/><br/>The first edition to contain Donizetti's revisions for the Viennese performance.<br/><br/>Don Pasquale a dramma buffo in 3 acts to a libretto by Giovanni Ruffini and Donizetti after Angelo Anelli premiered in Paris at the Théâtre Italien on 3 January 1843. The incredible success of the opera led to a series of performances the same year in Milan 17 April Vienna 14 May and London 19 June.<br/><br/>"Don Pasquale was an instant success . For its Viennese première at the Kärntnertortheater on 14 May 1843 in Italian a production prepared by Donizetti he added to the score the baritone-buffo duet 'Cheti cheti immantinente' borrowing it from a discarded section of the unperformed L'ange de Nisida; Don Pasquale was sung on that occasion by Tadolini Norina Rovere Pasquale Salvi Ernesto and Ronconi Malatesta .<br/><br/>" . The opera has been described as 'Mozartian' and clearly it shares certain characteristics with Mozart's approach: the characters are humanized not mere farcical stereotypes and the melodies mirror the emotions they express. This comparison is often made in apparent astonishment that a Donizetti could achieve such an irresistibly heartfelt comedy. Rather it is more appropriate to describe the opera as supremely 'Donizettian' for it stands as a summation of all his most valuable qualities." William Ashbrook in Grove Dictionary of Opera. Ant. Diabelli und Comp. [PN D. & C. No. 7642-59] unknown books
1969030363New York: Edwin F. Kalmus 1969. 212p. music stiff wrapeprs Kalmus vocal scores 6161. Edwin F. Kalmus unknown books
1980030362Milano: Ricordi 1980. Libretto di Michele Accursi. Partitura. 497p. b/w port. music original stiff wrappers quarto format Opera full score series. Ricordi unknown books
186033930Roma: Tipografia Menicanti 1860. Octavo. Plain yellow wrappers. 1f. recto title verso named cast list 3-6 named list of chorus and orchestra 7-36 pp.<br/><br/>Cast list includes Gaetano Giovannini Euginio Corsi Giovanni Bernardoni "N.N." Roberto Bompiani Luigi Martellotti Angela Monghini Giuseppe Giannoli and Giuseppe Crosanti.<br/><br/>Wrappers slightly worn and soiled; "18" in faint manuscript to upper. Light uniform browning; corners slightly creased. "A dominant figure in Italian opera Donizetti was equally successful in comic and serious genres and an important precursor of Verdi." Mary Ann Smart and Julian Budden in Grove Music Online. Tipografia Menicanti unknown books
198030255Melville NY: Belwin Mills 1980. Large octavo. Original publisher's dark ivory wrappers illustrated in colour. 1f. recto reproduction decorative title verso blank 1f. recto reproduction named cast list and contents verso blank 192 pp. <br/><br/>Named cast list includes Colson Gerard Vadé Petit Brière Tallon Laurent Junga Cabel Colson and Leroy. Kalmus Vocal Score 9891. [Belwin Mills] unknown books
1865235590Boston: Oliver Ditson & Co 1865. First edition front wrapper without portrait of Lincoln appearing in later issues. Engraved title and piano score; 5 pp. 1 vols. Folio. Loose as issued; split along spine with some chipping to extremities. First edition front wrapper without portrait of Lincoln appearing in later issues. Engraved title and piano score; 5 pp. 1 vols. Folio. Donizetti died 17 years before Lincoln having gone mad from syphilis. His Funeral March gained a measure of recognition in America after it was performed during Lincoln's funeral ceremonies. It is a heavy solemn piece in a minor with droning octaves in the bass a haunting chromatic figure in the middle register and a lyrical upper voice. see Barret Sale Lot 693; Stern Collection of Lincolniana Oliver Ditson & Co unknown books
185033587Napoli: B. Girard e Ci. PNs 2691 2693 2697 2833 4550-67 1850. Oblong folio. Dark red leather-backed dark green cloth boards spine in decorative compartments gilt titling gilt. 190 pp. Each number with separate caption title and secondary pagination. Engraved.<br/><br/>Title with catalogue of pieces from the opera including 5 alternative arrangements. Re-engraved with Girard's later address Largo S. Ferdinando 49.<br/><br/>Handstamp "Scuola di Canto dei Mo. Lombardini" to title and several pages throughout. <br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981. <br/><br/>Binding somewhat worn scuffed and bumped; remnants of paper label to spine; free front endpaper lacking; shaken Rather worn throughout; moderately thumbed and foxed; creases and fraying to some corners; ape repairs to title and several leaves. An early edition later issue. Inzaghi IN. 53 p. 169.<br/><br/>Gemma di Vergy a tragedia lirica in two acts to a libretto by Giovanni Emanuele Bidera after the play Charles VII by Alexandre Dumas premiered in Milan at the Teatro alla Scala on 26 December 1834.<br/><br/>"Although Gemma is perhaps vocally the most daunting role Donizetti ever composed for a soprano being designed for Giuseppina Ronzi De Begnis Donizetti's favourite prima donna during the 1830s the opera retained its popularity in Italy until well into the 1860s. Musically the score has great merits. Gemma's aria finale - consisting of a prayer of imprecation on her husband's second marriage succeeded by a change of heart and her resolution to enter a convent which in turn leads into the eloquent Larghetto 'Un altare ed unabenda' and the despairing cabaletta 'Ah chi m'accusa' forms a classic test for a dramatic soprano d'agilità . The role of the Saracen Tamas composed for Domenico Reina is dramatically effective and his Allegro giusto in Act 1 'Mi toglieste a un sole ardente' was long a popular showpiece for tenors; on more than one occasion its libertarian sentiments prompted demonstrations against repression." William Ashbrook in Grove Dictionary of Opera. B. Girard e Ci. [PNs 2691, 2693, 2697, 2833, 4550-67] unknown books
1963M6051Verona:: Arnoldo Mondadori 1963. 1963. Bibloteca Moderna Mondadori No. 778 Sezione Scienza e Tecnica. 190 x 110 mm. 256 4 ads 10 pp. 22 photographic figs. index. Boards. Blind stamp and ownership rubber stamp on title. Very good. Arnoldo Mondadori, (1963). hardcover books
189826593Milano: R. Stabilimento Tito di Gio. Ricordi e Francesco Lucca PNs 9359-23839 1898. Oblong folio. Full modern maroon leatherette titling gilt to spine. 1f. recto title verso blank 1f. recto cast list verso table of contents with plate and page numbers 5-103 i blank pp. Engraved.<br/><br/>Publisher's blindstamp dated April 1914 to lower margin.<br/><br/>Occasional tears creases and worming; tape repairs to final leaf with no loss of music. An attractive copy overall. Later edition later issue dated inferred from the appearance of Francesco Lucca's name in imprint; see OCLC no. 52136762 incorporating numbers from both early and later printings. <br/><br/>Il campanello di notte was first performed at the Teatro Nuovo in Naples on June 1 1836 to a libretto by the composer after Brunswick M.-B. Troin and V. Lhérie. <br/><br/>"Enrico's role created by Giorgio Ronconi is fitted with all sorts of musical and dramatic opportunities. His encounters with Annibale develop in musical ingenuity. Particularly effective are the episode of the hoarse singer replete with musical allusions to other scores by Donizetti and by Rossini and the encounter over the prescription which develops into something with even more bizarre medical terms than Dr Dulcamara's aria in Elisir and with more frantic parlando than the Don Pasquale-Malatesta duet." William Ashbrook in Grove Music Online. R. Stabilimento Tito di Gio. Ricordi e Francesco Lucca [PNs 9359-23839] unknown books
185331271Napoli: B. Girard e Ci. PNs 4249-51 3163-6 1853. Oblong folio. Brown cloth-backed dark yellow mottled paper boards spine in gilt-ruled compartments with titling gilt. 1f. recto title verso blank 3-52 pp. Each number with separate caption title and pagination. Engraved. <br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding slightly worn scuffed and rubbed; endpapers somewhat browned and stained. Minor internal soiling and staining. First Edition later issue with Girard's address from 1846-53. Inzaghi IN. 57 p. 177.<br/><br/>Donizetti composed his one-act opera Il Campanello di notte to his own libretto based on a French vaudeville La sonnette de nuit by Brunswick Mathieu-Barthélemy Troin and Victor Lhérie. It premiered at the Teatro Nuovo in Naples on June 1 1836. The absurd plot follows Enrico as he continually harasses pharmacist Don Annibale who is trying to celebrate his wedding night with Serafina whom Enrico still loves.<br/><br/>"Enrico's role created by Giorgio Ronconi is fitted with all sorts of musical and dramatic opportunities. His encounters with Annibale develop in musical ingenuity. Particularly effective are the episode of the hoarse singer replete with musical allusions to other scores by Donizetti and by Rossini and the encounter over the prescription which develops into something with even more bizarre medical terms than Dr Dulcamara's aria in Elisir and with more frantic parlando than the Don Pasquale-Malatesta duet." William Ashbrook in Grove Music Online.<br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. B. Girard e Ci. [PNs 4249-51, 3163-6] unknown books
182933415Milano: Epimaco e Pascquale Artaria PNs 74-77 95-96 79 97 1829. TROMBETTA Giuseppe arranger. Oblong octavo. Dark brown leather-backed textured red paper boards with decorative borders and titling gilt spine in gilt-ruled compartments. 61 pp. Engraved. <br/><br/>With previous owner's name "G. Lorini" gilt to lower outer corner of upper board.<br/><br/>From the collection of Luigi Ricci 1893-1981 Italian conductor vocal coach and close associate of Puccini and Mascagni.<br/><br/>Binding somewhat rubbed and bumped. Extensive pencilling to rear endpapers. Moderately worn and foxed; light scattered soiling. Title lacking. First Edition of this arrangement. Inzaghi IN. 31 p. 148. A vocal score was not published until 1856.<br/><br/>Elisabetta al castello di Kenilworth a melodramma in 3 acts to a libretto by Andrea Leone Tottola after Scribe and Hugo premiered in Naples at the Teatro di S Carlo on 6 July 1829. [Epimaco e Pascquale Artaria] [PNs 74-77, 95-96, 79, 97] unknown books
006221Milano: Presso Epimaco e Pasquale Artaria. Half Vellum. Marbled paper on boards. Very Good. N.d. circa 1830s. Oblong 19.5 by 26.5 cm. The pagination is disorganized with a return to page one several times then many numbers skipped and ending on page 112 but it seems that the book is complete as published. Partial hand-coloring of the title page including of the lettering and the copper engraved illustration beneath. Scarce -- no copies found on OCLC First Search. This Donizetti opera had its premier in 1833 and thus this published piano version based on the opera score is both early and quite possibly the first published piano reduction of the score. Condition: soiling of the vellum spine and light wear to the binding generally. Occasional light foxing and soiling to the interior but mostly clean and tight. <br/><br/> Presso Epimaco e Pasquale Artaria hardcover books
183331313Milano: G. Ricordi e Co. PN 6755 1833. Oblong folio. Red marbled paper wrappers. Sewn. 11 1 blank pp. Engraved.<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Wrappers slightly worn and faded. Slightly worn and browned; partially detached at lower inner margin; minor foxing and staining throughout; occasional small tears; some corners creased;. First Edition. Inzaghi IN. 44 pp. 158-9. <br/><br/>Il Furioso nell'isola di San Domingo to a libretto by Jacopo Ferretti based on a play of the same name after Don Quixote was first performed at the Teatro Valle in Rome on January 2 1833.<br/><br/>The duet "Di quegli occhi" between Cardenio and Kaidamà comes near the end of the first Act.<br/><br/>"Il furioso is sometimes described as an opera semiseria because of the presence in the cast of a buffo character - Kaidamà who is a 'natural' defective and therefore a foil to Cardenio's delusions; but he is a figure of pathos rather than fun. It is in fact a Romantic melodramma through and through and is so described in the original libretto. The score contains some finely wrought arias and moving ensembles." William Ashbrook in Grove Music Online.<br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. G. Ricordi e Co. [PN 6755] unknown books
185231245Napoli: Stabilimento Musicale Partenopeo Successore di B. Girard e Co. PNs 10407-10420 10422-10427 2163-2165 2197 2320 2324 5757 1852. Oblong folio. Vellum-backed and edged boards with burgundy cloth laid down initials "C.G." gilt to upper titling to spine stamped in black original light pink publisher's printed wrappers bound in. 1f. recto title verso blank 1f. recto cast list and table of contents verso blank 5-226 pp. Each number with separate caption title and pagination. Engraved.<br/><br/>Endpapers watermarked with a fleur-de-lis and "Michele Dupino Marmorato." With priced catalog "Opere Teatrali Intere" to upper wrapper listing works by Bellini Donizetti Rossini Verdi et al. composed through 1853 and with list of pieces with individual prices and plate numbers to title.<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding slightly worn bumped and scuffed. Minimal foxing throughout primarily confined to margins. Later edition later issue. Inzaghi IN. 41 pp. 155-7.<br/><br/>Girard's first edition of L'elisir d'amore appeared circa 1833. This new issue from 1852 contains many new plates alongside the older ones.<br/><br/>L'elisir d'amore to a libretto by Felice Romani after Eugène Scribe's text for Auber's Le philtre 1831 was first performed at the Teatro Cannobiana in Milan on May 12 1832.<br/><br/>"Donizetti's score is a study in shrewd contrasts: from the fairly florid lines of the duet 'Chiedi all'aura' - florid yet always rhetorically tidy - to the bumptious 3/8 stretta of the Act 1 finale or from the sharply differentiated tones of Nemorino and Belcore in the 'Venti scudi' duet to the comic irony in the duet for Adina and Dulcamara 'Quanto amore!' which sets off the potion as charm against the charm of Adina herself. The apparently effortless outpouring of melody arouses wonder especially as it is never melodiousness for its own sake but always describes some aspect of character; moreover there are those moments of genuine pathos 'Adina credimi' and 'Una furtiva lagrima' for instance that keep this comedy from seeming merely heartless or cruel. Ultimately the continuing appeal of L'elisir lies in the appropriateness of Donizetti's music to this bucolic variant of the 'male Cinderella' myth. Nemorino's good-heartedness and his singleness of purpose win out in spite of potions and unforeseen inheritances." William Ashbrook in Grove Music Online.<br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. Stabilimento Musicale Partenopeo, Successore di B. Girard e Co. [PNs 10407-10420, 10422-10427, 2163-2165, 2197, 2320, 2324, 5757 unknown books
183833430Paris: Marquerie Frères 1838. Octavo. Half brown morocco with matching cloth boards raised bands on spine decorative devices and titling gilt. 1f. title 1f. contents 240 pp. Engraved. Text in Italian. With an elaborate engraved title page by Hibon and A. Lafon. <br/><br/>Former owner's name "S.L. Norris" gilt to upper board.<br/><br/>Binding slightly rubbed. Sligthly browned and foxed; trimmed within platemark. An early edition. Inzaghi IN. 41 p. 156.<br/><br/>L'elisir d'amore a melodramma giocoso in 2 acts to a libretto by Felice Romani after Scribe's Le philtre 1831 premiered in Milan at the Teatro alla Cannobiana on 12 May 1832. Donizetti arrived in Paris on 21 October 1838 and the work was first performed at the Théâtre-Italien there on 17 December 1839 to great acclaim<br/><br/>"Donizetti's score is a study in shrewd contrasts: from the fairly florid lines of the duet 'Chiedi all'aura' - florid yet always rhetorically tidy - to the bumptious 3/8 stretta of the Act 1 finale or from the sharply differentiated tones of Nemorino and Belcore in the 'Venti scudi' duet to the comic irony in the duet for Adina and Dulcamara 'Quanto amore!' which sets off the potion as charm against the charm of Adina herself. The apparently effortless outpouring of melody arouses wonder especially as it is never melodiousness for its own sake but always describes some aspect of character; moreover there are those moments of genuine pathos 'Adina credimi' and 'Una furtiva lagrima' for instance that keep this comedy from seeming merely heartless or cruel. Ultimately the continuing appeal of L'elisir lies in the appropriateness of Donizetti's music to this bucolic variant of the 'male Cinderella' myth. Nemorino's good-heartedness and his singleness of purpose win out in spite of potions and unforeseen inheritances." William Ashbrook in Grove Music Online. Marquerie Frères unknown books
186131239Milano: F. Lucca PNs 10001-10034 1861. Oblong folio. Full dark brown cloth with decorative blindstamping and floral device gilt to upper titling gilt to spine. 1f. recto title printed in brown within decorative borders by G. Sperati verso blank 1f. recto named cast list verso table of contents 5-268 pp. Each number with separate caption title and pagination. Engraved.<br/><br/>Title includes an index of pieces with individual plate numbers and prices. Cast list from the first performance includes Rosine Stoltz Gilbert Duprez Paul Barroilhet and Nicolas Levasseur. <br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding slightly worn rubbed and bumped spine slightly faded. Light scattered foxing throughout heavier to a few signatures. Second Italian edition later issue. Inzaghi IN. 67 pp. 187-89. Bergamo catalog p. 123 a similar issue.<br/><br/>Based on the plate numbers the second edition is from 1855 but the decorative title page of this issue by Sperati is dated 1861. Instrumental-only pieces have dual plate numbers from the first edition of 1841: Sinfonia PN 10001 2844 Ballet PNs 10014 2840 10015 2841 10016 2842 10017 2843.<br/><br/>La Favorite to a libretto by Alphonse Royer and Gustave Vaëz with additions by Eugène Scribe was first performed at the Paris Opéra on December 2 1840. Donizetti used his earlier unperformed opera L'ange de Nisida as the basis for La Favorite though the plots are considerably different. The original French version would become a standard in Paris performed regularly at the Opéra until 1918. It has become widely regarded as one of Donzietti's best operas with considerable attention given to the fourth act. <br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. F. Lucca [PNs 10001-10034] unknown books
