Gaetano DonizettiBiblio.com
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139185747X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
139658160X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
In oblungo (24,4x31) cm; (2), 15, (1 b.) pp. Dorso rinforzato e per il resto, in buone condizioni. Ogni pagina stampata con ben impressa la battuta della lastra. Titolo entro cornice xilografica. Timbro dell'antico rivenditore genovese al margine basso del frontespizio. Bell'edizione di questa riduzione su musica del grande compositore bergamasco Gaetano Donizetti. A parte il rinforzo al dorso e un leggerissimo, quasi invisibile alone all'angolo superiore in buone condizioni di conservazione. NON COMUNE.
(Firenze), (1851), (Tip. Galletti), in-16, br. editoriale azzurra con elegante cornice tipografica e vignetta centrale alla copertina posteriore, pp. 31, (1). Fregio "musicale" inciso al frontespizio, in calce al quale è stato incollato un tassello di carta che occulta il nome del tipografo e su cui è stato impresso l'emblema (mulino) dell'Accademia degli Immobili. Elencati i nomi degli interpreti a pagina 3: nel ruolo di Maria Padilla (la cui 1a era stata 10 anni prima al Teatro della Scala) il soprano di coloritura Rosina Penco (Napoli 1823-1894); acclamata interprete verdiana (Il Trovatore, La Traviata, ecc.), alla Pergola riscosse ampio successo anche nella Sonnambula e come Desdemona nell'Otello di Rossini.
185933417Milano: Giovanni Ricordi PNs 13551-13579 1859. Oblong folio. Disbound. 1f. title printed within decorative light teal blue border 1f. named cast list contents 3-253 1 blank pp. Engraved.<br/><br/>Named cast list includes Giorgio Ronconi Gaetano Rossi Domenico Donzelli Sofia Löwe Luigia Abbadia and Teresa Ruggeri.<br/><br/>Contemporary owner's signature "Geo. Sweet" to upper outer corner of title with handstamp of Tams Witmark to blank lower margin and blindstamp of Tito Ricordi dated April 1859 to lower outer corner.<br/><br/>Wrappers lacking. Slight dampstaining to lower margin throughout; light foxing to outer leaves; occasional markings in pencil. First Italian edition later issue. Published shortly after the French edition. Inzaghi IN. 71 p. 191. Bergamo Catalogue p. 127 54. Gaspari III p. 301.<br/><br/>A melodramma in three acts to a ibretto by Gaetano Rossi and Donizetti after the play by François Ancelot Maria Padilla premiered in Milan at La Scala on 26 December 1841.<br/><br/>"One of the most unfairly neglected of Donizetti's mature operas Maria Padilla contains a wealth of brilliant and dramatically powerful music." William Ashbrook in Grove Dictionary of Opera. Giovanni Ricordi [PNs 13551-13579] unknown books
048329375X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
0267086016.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
0364868988.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
0365540935.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1396217150.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
139619777X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
In-16°, pp. 28, elegante copertina editoriale. Alla copertina anteriore, firma d'appartenenza e scritta "Carnevale 1845=46",, entrambe di stessa mano coeva. Alcuni segni d'iumido. Musica di Gaetano Donizetti, scenografie di Alessandro Merlo e Giovanni Fontana. Di seguito i personaggi del melodramma e i relativi interpreti: Riccardo, conte di Chalais, Giuseppe Sinico; Enrico, duca di Chevreuse, Achille De Bassini; Maria, contessa di Rohan, Emilia Scotta; il visconte di Suze, Luigi Vairo; Armando di Gondi, Amalia Poppi; De Fiesque, Giuseppe Lodi; Aubry, segretario di Chalais, Giulio Soldi; un famigliare di Chevreuse, Napoleone Marconi. Musicisti: Maestro al cembalo: Giacomo Panizza; Altro maestro, in sostituzione del sig. Panizza: sig. Giovanni Bajetti; Primo Violino, Capo e Direttore d'Orchestra: Eugenio Cavallini; Altro primo Violino, in sostituzione del sig. Cavallini: Bernardo Ferrara; Capi dei secondi a vicenda: Giacomo Buccinelli, Giuseppe Rossi; Primo Violino per i Balli: Gaetano Montanari; Altro primo Violino, in sostituzione al sig. Montanari: Rinaldo Somaschi; Primo Violoncello al Cembalo: Vincenzo Merighi; Altro primo Violoncello in sostituzione del sig. Merighi: Pietro Tonazzi; Primo Contrabbasso al Cembalo: Luigi Rossi; Altro Primo Contrabbasso in sostituzione al sig. Rossi: G. Manzoni; Prime Viole: Carlo Maino, Pietro Tassistro; Primi Clarinetti per l'opera: Ernesto Cavallini; pel Ballo: Giuseppe Piana; Primi Oboe a perfetta vicenda: Carlo Ivon Giovanni Daelli; Primi Flauti: per l'opera, Giuseppe Raboni, pel ballo, Filippo Marcora; Primo Fagotto: Antonio Cantù; Primi Corni da Caccia: Evergete Martini, Marco Languiller; Prima Tromba: Giuseppe Araldi; Arpa: Virginia Rigamonti. Maestro istruttore dei cori, Antonio Cattaneo. Editore e proprietario della musica e del testo: Giovanni Ricordi; Suggeritore: Giuseppe Grolli; Vestiarista Proprietario: Pietro Ravaglia; Direttore della sartoria: Giacomo Colombo; Guardarobiere: Antonio Felisi; Capi sarti: da uomo N. N. - da donna Paolo Veronesi; Berrettonaro: Luigi Zamperoni; Fiorista e piumista: Giuseppa Robba; Attrezzista proprietario, Gaetano Croce; Inventore e direttore del macchinismo: Giuseppe Ronchi; Macchinisti: Giuseppe Pirola, Giovanni Volpi; Parrucchiere: Eugenio Venegoni; Direttore dell'illuminazione: Giovanni Caregnani.
185331243Napoli: Stabilimento Musicale Partenopeo PNs 6056-6060 6063 6065 6133 6136-6141 6402 6492 6535 6652 6659-6660 6721-6724 6727-6730 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 yellow publisher's printed wrappers bound in. 1f. recto title verso named cast list table of contents 3-158 pp. Each number with separate caption title and secondary 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. Named cast list includes the performers from the premieres in Vienna Paris and Naples including: Eugenia Tadolini Giorgio Ronconi Carlo Guasco Lorenzo Salvi Giulia Grisi Marietta Brambilla Gaetano Fraschini and Filippo Coletti. <br/><br/>Piano reduction of the Sinfonia by Czerny "nello stile elegante."<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 and with minor defects. Minimal foxing throughout primarily confined to margins. An early edition later issue. Inzaghi IN. 76 pp. 196-7.<br/><br/>Girard's first edition of Maria di Rohan appeared circa 1844 but this issue contains a new title page with Girard's later imprint Stabilimento Musicale Partenopeo.<br/><br/>Maria di Rohan was composed to a libretto by Salvadore Cammarano after Lockroy and Badon's play Un duel sous le Cardinal de Richelieu 1832. It premiered at the Kärntnertortheater in Vienna on June 5 1843.<br/><br/>"The most tautly constructed of Donizetti's romantic melodrammi Maria di Rohan shows clear signs particularly in Act 3 that Donizetti was moving towards the effect of unbroken musical continuity abandoning the closed patterns of conventional 'number' opera. Even in Act 1 the usual succession of 'entrance' arias is given new force and dynamism by Donizetti's tendency to reduce the fixed forms to their minimum and to inject vivid musical characterization. It is a work that calls for accomplished singers who are also powerful actors particularly for the baritone role of Chevreuse. Chorley described the powerful effect produced by Giorgio Ronconi in this part.<br/><br/>Maria di Rohan contains some of Donizetti's most expressive music. The soprano's first-act aria 'Cupa fatal mestizia' suggests Un ballo in maschera. The tenor's aria at the beginning of Act 2 'Alma soave e cara' is one of a number of fine single-movement tenor arias from the final years of Donizetti's output that reveal how effectively he wrote for this range of voice. The baritone's scene in Act 3 'Bella e di sol vestita' has been eloquently recorded by Mattia Battistini." 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 [PNs 6056-6060, 6063, 6065, 6133, 6136-6141, 6402, 6492, 6535, 6652, 6659-6660, 6721-6724, 6727 unknown books
a87914y1974. In Italian. Sm.4to. pp.311-342 photo illustrations of performers numerous illustrated advertisement wraps with full color illustration on front VG. No ownership marks. . paperback
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