46 résultats
188429529Paris: G. Hartmann PN G. H. 1356.1386 1884. Large octavo. Quarter dark brown calf with dark brown pebbled cloth. 1f. recto half title verso blank 1f. recto decorative title verso blank 1f. recto dedication verso blank i notes on first performance and named cast list ii-iii contents iv blank 387 i blank pp.<br/><br/>Signed with the initials "P.G." Philippe Gille co-librettist in pencil on cast list and dated April 26 1884. <br/><br/>Named cast list includes: Mmes. Marie Heilbronn Molé-Truffier Chevaljer Rémy Lardinois Mrs. Talazac Taskin cobalet Grivot Collin Mrs. Labis Teste Reynal Legrand Troy Davoust and Bernard. <br/><br/>Binding worn; corners bumped; lower board somewhat rubbed and scuffed; spine llacking and reinforced with black tape; hinges split. Occasional minor foxing; some signatures split; minor tear to upper outer edge of pp. 41/42. First Edition early issue. Fuld pp. 460-461. Crawford p. 259. <br/><br/>First performed in Paris on January 17 1884. <br/><br/>An interesting association copy. G. Hartmann [PN G. H. 1356.1386] unknown books
188029554Paris: G. Hartmann PN G.H. 1093 1880. Large octavo. Original publisher's blue cloth-backed blue decorative printed wrappers with printed titling to spine. 1f. recto polychrome title verso blank 1f. half-title within decorative device verso named cast list 1f. recto contents verso blank 214 pp. <br/><br/>With an autograph inscription signed by the composer "J. Massenet" to Madame de Grandval the composer Marie-Félicie Clémence de Reiset 1828-1907 and dated 1880 to upper outer corner of half-title.<br/><br/>With small oval publisher's handstamp to blank lower outer corner of title. <br/><br/>Wrappers worn; splitting at spine; chipped at edges. Somewhat worn; moderately foxed; signatures separated; some edges chipped and with small tears; lacking final page of music supplied in photocopy; some bleeding to inscription. First Edition. <br/><br/>First performed in Paris at the Opéra on May 22 1880. <br/><br/>"La Vierge completed in 1878 is a 'légende sacrée' with a text by Grandmougin and a considerable cast. Its four scenes are 'The Annunciation' 'The Wedding at Cana' 'Good Friday' and 'The Assumption'; there is a Galilean Dance during the wedding scene. The single movement that makes up the Good Friday scene is one of Massenet's best creations broad in conception and strongly dramatic in character but the work has never found favour with the exception of the prelude to the last scene 'Le dernier sommeil de la Vierge' featuring a solo cello and muted strings." Hugh Macdonald in Grove Music Online. <br/><br/>We would like to thank Mr. Bernard Peyrotte of Librairie Arioso in Paris for kindly informing us of the identity of the person to whom Massenet inscribed this score. G. Hartmann [PN G.H. 1093] unknown books
233301 page. Small octavo. Dated Égreville August 25 1902. In French with translation. <br/><br/>Massenet thanks his correspondent perhaps for performing one of his compositions and promises to send him the score. <br/><br/>"What joy you give me and how fortunate for the work . I am having the score sent to you immediately."<br/><br/>Slightly worn and soiled; creased at central fold. Massenet was "the most prolific and successful composer of opera in France at the end of the 19th century and into the beginning of the 20th. His place in the history of French music is secure for although he is not to be bracketed with Berlioz or Debussy or even Bizet he generously satisfied the tastes of the 'belle époque' and retained his standing as a master of the lyric stage for well over a generation." Hugh MacDonald in Grove Music Online. unknown books
188423045Paris: Au Ménestrel. Heugel & Cie PNs H. et Cie. 7742.; G.H. 1190. 1884. Large octavo. Quarter dark brown leather with marbled boards raised bands on spine in decorative compartments gilt marbled endpapers red edges. 1f. half title 1f. title i named cast list ii-iii description of scenes iv blank 367 pp.<br/><br/>Cast list includes Edmond Vergnet and Léon Gresse for the Brussels performance and Jean de Reszké Édouard de Reszké Victor Maurel Fidès Devriès and Wilhelmina Tremelli for the Paris performance.<br/><br/>Binding slightly worn and rubbed; some foxing heaviest to the first and last leaves; publishers' round and oblong handstamps to title and named cast list; one signature partially detached; minor staining. This edition represents the revised version of the opera issued to coincide with the Paris performance at the Théâtre Italien on February 1 1884.<br/><br/>Based on the story by Gustave Flaubert Hérodiade was first performed in Brussels in the Théâtre de la Monnaie on December 19 1881.<br/><br/>It is generally regarded as the best of the composer's three attempts at traditional grand opera. The work's strength lies in "familiar Massenet territory: erotic obsession particularly in the musical characterization of Herod. Until the turn of the century the opera was staged frequently on both sides of the Atlantic. In part because its five leading roles are rewarding to star singers it has never fallen out of the repertory." Rodney Milnes in Grove Music Online. Au Ménestrel... Heugel & Cie [PNs H. et Cie. 7742.; G.H. 1190.] unknown books
23407Colour photo-mechanical portrait printed in tones of sepia red black and tan with short textual addition below portrait. Published in the satiric journal L'Assiette au Beurre in 1902. Sheet size 313 x 241 mm. With portrait of the French composer Charles-Marie Widor 1844-1937 to verso. <br/><br/>Fine impression on tan wove paper. <br/><br/>Slightly worn browned and brittle; frayed at right margin with some paper loss not affecting image. unknown books
189129461Paris: G. Hartmann & Cie. PN G. H. et Cie. 2121 1891. Large octavo. Quarter dark red calf with marbled boards spine in gilt-ruled compartments titling gilt initials "G.D." gilt to tail; marbled endpapers. 1f. recto decorative half-title in colour verso blank 1f. recto illustrated title in colour verso blank i decorative named cast list in colour ii contents i small illustration 275 i blank pp.<br/><br/>Binding slightly worn rubbed and bumped; head of spine torn and slightly frayed; joints partially split. Slightly browned; some signatures split or partially split; small handstamps of Gustave Doret and Marcel Rigaud to front free endpaper and half-title; signatures in ink of J. de Guilheimy and Marcel Rigaud to front free endpaper; Rigaud and Hartmann handstamps to title; de Guilheimy signature to upper outer corner of leaf following title. First Edition.<br/><br/>"Massenet was the most prolific and successful composer of opera in France at the end of the 19th century and into the beginning of the 20th." Annegret Fauser Patrick Gillis and Hugh Macdonald in Grove Music Online. G. Hartmann & Cie. [PN G. H. et Cie. 2121] unknown books
1898315088Paris 1898. 2-3/8 x 3-11/16 inches. Matted and framed. 2-3/8 x 3-11/16 inches. Underneath his printed name Massenet has added this autograph note "avec mon plus sincère félicitations & ma meilleur sentiments. M unknown books
302841 page. In black ink on light green airletter with integral address panel. No date but postmarked "2. 1. 12" January 2 1912. In French. <br/><br/>Massenet thanks Emmanuel for his heartfelt words saying "the future belongs to you" lamenting the fact that he will not be there and thanking his correspondent "with all his soul."<br/><br/>"Je vous dis absolument mon émotion charmée de toutes vos paroles. Vous êtes un professeur éminent et l'avenir vos appartient. J'aimerais être la. alors! De toute mon âme merci! Massenet."<br/><br/>From the collection of Marilyn Horne b. 1934.<br/><br/>Together with:<br/>An autograph letter signed "Lucette" to Marilyn Horne. 1-1/2 pp. Folio. Dated Paris February 1st 1991. On printed letterhead of Arts Opera-Promotion. In French. Horne's correspondent calls her "an exceptional artist with an exceptional personality" and thanks her "a million times" for coming hoping that they will be able to do other concerts together; she goes on to transcribe the Massenet note. <br/><br/>Massenet note slightly worn; creased overall and at folds; "120" in blue pencil to address panel; with small perforations to edges as issued. "Massenet was the most prolific and successful composer of opera in France at the end of the 19th century and into the beginning of the 20th." Annegret Fauser Patrick Gillis and Hugh Macdonald in Grove Music Online.<br/><br/>A distinguished American mezzo-soprano "Horne had a voice of extraordinary range rich and tangy in timbre with a stentorian chest register and an exciting top. In concert she once achieved the feat of singing in a single programme Rossini arias and Brünnhilde's Immolation Scene proof of her exceptional versatility. Throughout her lengthy career she was an admired recitalist singing lieder mélodies Spanish and American songs with equal aplomb." Alan Blyth in Grove Music Online. unknown books
189530338Paris: Heugel & Cie 1895. 32.5 x 23/5". Printed in blue and black. The poster reproduces in very large format the photograph by Reutlinger of Emma Calvé in the role of Anita.<br/><br/>From the collection of Marilyn Horne b. 1934.<br/><br/>Slightly worn; attached at corners to card stock. In very good condition overall. Reproduced in Schneider: Massenet plate 26. <br/><br/>La Navarraise in two acts to a libretto by Jules Claretie and Henri Cain after Claretie's short story La cigarette was first performed in London at Covent Garden on June 20 1894 and in Paris at the Opéra-Comique on October 8 1895; Calvé performed in both productions.<br/><br/>"Massenet was the most prolific and successful composer of opera in France at the end of the 19th century and into the beginning of the 20th." Annegret Fauser Patrick Gillis and Hugh Macdonald in Grove Music Online.<br/><br/>A distinguished American mezzo-soprano "Horne had a voice of extraordinary range rich and tangy in timbre with a stentorian chest register and an exciting top. In concert she once achieved the feat of singing in a single programme Rossini arias and Brünnhilde's Immolation Scene proof of her exceptional versatility. Throughout her lengthy career she was an admired recitalist singing lieder mélodies Spanish and American songs with equal aplomb." Alan Blyth in Grove Music Online. Heugel & Cie unknown books
233222 pp. Octavo. In French with translation. <br/><br/>Massenet thanks his correspondent lavishly for a gift and fondly remembers the latter's 1879 performance of Il Re di Lahore at La Scala.<br/><br/>"It is to the admirable celebrated artist. that I address this lovely recompense! Your gift has been a joy for me who has kept the memory of Il Re di Lahore at Milan!"<br/><br/>Very slightly soiled; creased at folds. Massenet was "the most prolific and successful composer of opera in France at the end of the 19th century and into the beginning of the 20th. His place in the history of French music is secure for although he is not to be bracketed with Berlioz or Debussy or even Bizet he generously satisfied the tastes of the 'belle époque' and retained his standing as a master of the lyric stage for well over a generation." Hugh MacDonald in Grove Music Online.<br/><br/>Tamagno 1850-1905 was the foremost heroic tenor of his time. After his first appearance at La Scala in 1877 he created the title roles in Verdi's Don Carlos 1878 and Otello 1887 among other operas. He sang Alim in the first La Scala production of Massenet's opera Il re di Lahore Le Roi de Lahore in 1879 to which this letter most likely refers first performed at the Palais Garnier in Paris on April 27 1877. unknown books
29534Paris: Au Ménestrel Heugel et Cie. PNs H. & Cie. 24506 254212 254245 254267 2542910. Folio. Quarter black calf with marbled boards Rouart-Lerolle subscription label to upper. 1f. recto half title verso blank 1f. recto title in red and black verso copyright statement i notes on first performance and named cast lists ii contents i blank 238 pp. <br/><br/>Named cast for Monte-Carlo performance includes Kousnezoff Lucy Arbell Julia Guiraudon Éliane Peltier Doussot Muratore J.-F. Delmas Clauzure and Noté and for Paris performance Kousnezoff Lucy Arbell Campredon Le Senne Courbières Muratore J.-F. Delmas Journet Noté Carrié and Rey. <br/><br/>Binding slightly worn scuffed and rubbed; corners slightly cracked; head and tail of spine frayed; front hinge split. Occasional light foxing and soiling; small handstamp "2" to upper corner of free front endpapers and two additional leaves; subscription handstamp to first five leaves; small circular publisher's handstamp to lower margin of third leaf. First performed in Monte-Carlo at the Opéra in February of 1912 under the direction of Raoul Gunsbourg and in Paris at l'Académie Nationale de Musique in April of 1912 under the direction of Messager and Broussan. <br/><br/>"Roma has scenes of great nobility and solemn breadth." <br/><br/>"Massenet was the most prolific and successful composer of opera in France at the end of the 19th century and into the beginning of the 20th." Annegret Fauser Patrick Gillis and Hugh Macdonald in Grove Music Online. Au Ménestrel, Heugel et Cie. [PNs H. & Cie. 24506, 25421(2), 25424(5), 25426(7), 25429(10)] unknown books
23328Octavo. 3 pp. of a bifolium. Dated Paris April 21 1895 In French with translation. <br/><br/>Massenet is worried that his messages have not reached Pauline Viardot: the post office has returned one of his letters. He does not want Viardot to think him unreliable and asks his correspondent to reassure him. <br/><br/>"I immediately answered Madame Viardot's excellent letter - I have since telegraphed and written her. The post office returned one of my letters. wrong address . I am sorry to appear so 'inexact' in Madame Viardot's eyes. Excuse me - Reassure me." <br/><br/>Slightly browned; creased at folds; initials "B.D." embossed to upper portion of leaves. Massenet was "the most prolific and successful composer of opera in France at the end of the 19th century and into the beginning of the 20th. His place in the history of French music is secure for although he is not to be bracketed with Berlioz or Debussy or even Bizet he generously satisfied the tastes of the 'belle époque' and retained his standing as a master of the lyric stage for well over a generation." Hugh MacDonald in Grove Music Online.<br/><br/>Pauline Viardot 1821-1910 a highly distinguished French singer teacher and composer of Spanish origin "came from a family of singers: her father was the elder Manuel GarcÃa her mother MarÃa Joaquina Sitches her brother the younger Manuel GarcÃa and her sister Maria Malibran. Viardot not only inspired composers such as Chopin Berlioz Meyerbeer Gounod Saint-Saëns Liszt Wagner and Schumann with her dramatic gifts but also collaborated on the composition of roles created especially for her." Beatrix Borchard in Grove Music Online. unknown books
22364Octavo. 1 page of a bifolium. To an unidentified male correspondent. Dated Paris 28 Mai after November 1903. <br/><br/>Massenet looks forward to his correspondent's visit. <br/><br/>"After too much travelling I am now in Paris and would be honored by your visit to 48 rue de Vaugirard on Tuesday May 31 at 1 o'clock." <br/><br/>Slightly browned; creased at folds; one marking in red and one in blue crayon. "Massenet was the most prolific and successful composer of opera in France at the end of the 19th century and into the beginning of the 20th." Hugh Macdonald et al. in Grove Music Online. He moved to the rue de Vaugirard apartment overlooking the Jardin de Luxembourg in November of 1903 and lived there until his death in 1912; it was here that he worked on his last operas including Chérubin and Don Quichotte. unknown books
1891293608Paris 1891. unbound. very good. A.L.S. 8vo a gatefold page with writing on all quartos Paris June 10th 1891 in French to "Dear Teacher & Friend" in full translated: "You have always shown such deep feeling for me that I come to you to ask for a favor. that of interceding on behalf of Madam Feugeres - Dean of Studies. I assure you that Madame Feugeres merits all your concern. Since 1873 her students have achieved diplomas both on the elementary and highest levels. I am petitioning you to obtain the insignia of an officer of the Academy for Mrs. Feugeres. You know that I would not attempt this if I was not sure of her great ability - one of the most esteemed and recommended Deans of studies. The application was sent to the ministry 15 months ago - together with all the necessary documents. You would do me the greatest pleasure by combining your efforts and mine. I have the utmost confidence in you. I send my most sincere regards to Madam - and as always - I remain. J. Massenet". Set into a red matte with two openings with pages 1 and 4 displayed on the front while pages 2 and 3 are visible from the back; the second opening contains a picture of the composer from the 1890's. These are placed in a gold stained wood frame to 13.5" x 21.5". This item was professionally framed and sold by B. Altman's Department Store in 1966 and is being reintroduced to the autographic market 53 years later. Overall: fine condition.<br/><br/> French composer of the Romantic era best remembered for his operas of which he composed thirty.<br/><br/> unknown books
1903303411903. 1 page. Octavo. Dated Paris December 8 1887. In French with translation. Laid down to dark green mat framed and glazed. Overall size ca. 10.25" x 8".<br/><br/>Relative to rehearsals of Marie-Magdeleine etc.<br/><br/>"It would be too late now the night before to tell you that on Friday I will be rehearsing "Marie-Magdeleine" all evening from 8 o'clock on so. how annoying!" Massenet goes on to tell his correspondent that it is a rehearsal "in case of colds. and it's the prudent thing to do" asking him to keep that just between themselves.<br/><br/>From the collection of Marilyn Horne b. 1934. "Massenet was the most prolific and successful composer of opera in France at the end of the 19th century and into the beginning of the 20th." Annegret Fauser Patrick Gillis and Hugh Macdonald in Grove Music Online.<br/><br/>His Marie-Magdeleine was first performed as a 3-act drame sacré to a libretto by L. Gallet in Nice on February 9 1903 with Lina Pacary as Méryem Mlle. Hendrickx as Marthe Verdier as Jésus and Lequien as Judas. Irvine pp. 247-248. It was originally performed as an oratorio at the Odéon in Paris on April 11 1873. Loewenberg col. 1246.<br/><br/>A distinguished American mezzo-soprano "Horne had a voice of extraordinary range rich and tangy in timbre with a stentorian chest register and an exciting top. In concert she once achieved the feat of singing in a single programme Rossini arias and Brünnhilde's Immolation Scene proof of her exceptional versatility. Throughout her lengthy career she was an admired recitalist singing lieder mélodies Spanish and American songs with equal aplomb." Alan Blyth in Grove Music Online. unknown books
12349Used; Like New/Used; Like New. AMQS on an off-white page measuring 9 x 6.5 cm. The composer has penned a short quotation of three notes marked "Lento" and with the text "Les Larmes" from Acte 3 of "Werther" signing "Massenet / Paris / 95." Significant block of toning but otherwise fine.<br><br><br />Massenet's Werther is thrilling tuneful and one of the saddest operas ever composed â it ends with a suicide on Christmas Eve. It was first performed in Vienna on February 16Â 1892. unknown books
11865Used; Like New/Used; Like New. A boldly penned AMQS from the great French composer four measures titled "La Vierge" with text from his oratorio composed in summer 1878 and first performed in 1880 the piece which the composer desired to be played at his own funeral. Inscribed below his printed name "je vous écoute mais je ne crois pas encore !" and "Affectueux souvenir à vous deux" the inscription addressed to Miss Brunet-Lafleur and Mr Lamoureux in March 1879 formerly with a disintigrating envelope giving this information signed by Massenet with his monogram.<br><br><br />The soprano Miss Brunet-Lafleur was married to the French conductor and violinist Charles Lamoureux 1834 - 1899 founder of the Concerts Lamoureux which he directed from 1881 until 1897 and which contributed greatly to the popularizing of Wagner's music in Paris. Sold together with a postcard photograph of the composer. unknown books
233253 pp. of a bifolium. Octavo. Dated Égreville Seine. et Marne France August 19 1902. In French with translation. <br/><br/>Raoul Gunsbourg director of the Opéra de Monte-Carlo has told Massenet that his correspondent most probably the tenor Francesco Tamagno will participate in a production of Hérodiade the following March. Massenet hopes the star-studded cast which includes Emma Calvé Blanche Deschampes-Jéhin and Maurice Renaud will sing in French; he coaxes Tamagno to do the same.<br/><br/>"It is my dream that our friends Mlle. Calvé Mme. Deschamps-Jéhin Mr. Renaud sing in French -- thus I beg you as a personal service to sing in French as well . You can absolutely do it and it will be so interesting so successful!"<br/><br/>Slightly soiled; creased at folds; green pencilled lines around the sender's address to upper right portion of first page. Tamagno 1850-1905 was the foremost heroic tenor of his time. After his first appearance at La Scala in 1877 he created the title roles in Verdi's Don Carlos 1878 and Othello 1887 among other operas. Although Tamagno usually sang French grand operas in Italian he did indeed make an exception for the 1903 Monte Carlo production of Hérodiade. <br/><br/>Premiered at the Théâtre de la Monnaie in Brussels on December 19 1881 Hérodiade is generally regarded as the best of Massenet's three attempts at traditional grand opera. The work's strength lies in "familiar Massenet territory: erotic obsession" particularly in the musical characterization of Herod. Until the turn of the century the opera was staged frequently on both sides of the Atlantic. In part because its five leading roles are rewarding to star singers it has never fallen out of the repertory. Rodney Milnes in Grove Music Online. unknown books
1912006418New York: The Theatre Magazine 1912. First Edition. Cloth. Very Good /No Dustjacket. 12 issues bound by publisher into two green cloth volumes both with dark green decoration on front board spine a bit darkened internally clean and fine with the bookplate of Jean and Lilly Dache Despres all original color covers bound in as well. The Theatre Magazine unknown books
189026624Paris: G. Hartmann & Cie. PN G.H. 644. 1890. Octavo. Full dark red flexible textured paper boards titling gilt to spine original publisher's upper wrapper printed in sepia with titling within decorative border bound in. 1f. title 1f. named cast list for several performances including the premiere and table of contents 167 i blank pp. Lithographic transfer.<br/><br/>With publisher's handstamp to lower margin of title.<br/><br/>Binding slightly worn and rubbed wrapper slightly worn and soiled with signature in red pencil to upper inner corner. Occasional very light foxing and soiling to margins not affecting music. An attractive copy overall. <br/><br/>Together with two autograph musical quotations of 2 and 3 measures respectively signed "J. Massenet" and affectionately inscribed to the noted French Oriental painter Georges Clairin 1843-1919. 12mo. In black ink on French blue postal paper inserted into front free endpaper with small pieces of mounting tape to verso. The first dated April 12 1906 is a "souvenir of Marie-Magdeleine at the Opéra-Comique. "; the second dated April 14 1906 is set to the text "O bien aimé" Act III no. 13 under which Massenet has written "ami à nous." Both inscriptions thank the recipient for his letters. <br/><br/>With a concert program for the April 12 1906 performance of Marie-Magdeleine at the Opéra-Comique laid down to front pastedown opposite the quotations. "À George Clairin" in pencil in another hand to upper margin of front free endpaper; autograph signature of Marie Clairin in purple ink to final free endpaper.<br/><br/>Lower outer corner of front free endpaper lacking. OCLC no. 15813052. <br/><br/>Marie-Magdeleine an oratorio to a libretto by Louis Gallet was first performed at the Théâtre de l'Odéon in Paris on April 11 1873.<br/><br/>"Massenet's principal choral works are four biblical oratorios all of which are designed somewhat like his operas with solo arias choruses dramatic tableaux stage directions local Middle-Eastern colour and an act-and-scene structure. Their tone ranges from the devotional to the erotic and the solo parts are comparable to some of his operatic roles in range and expression. Méryem for example in Marie-Magdeleine one of his first successes when sung on Good Friday 1873 with Pauline Viardot in the main role has an impassioned C-minor solo aria in Act 3. Gallet's libretto develops the story of Méryem with Judas Iscariot cast as a scheming seducer. Its realism derived from Renan's La vie de Jésus displayed a marked contrast with the traditional reflective oratorio and the work was staged several times in Massenet's lifetime. The closing scene is a full-blooded Resurrection Hymn." Hugh Macdonald in Grove Music Online.<br/><br/>In 1885 Georges Clairin visited Hungary with Massenet and several others. He also made the posters for the first performances of Massenet's Le cid and Saint Saëns's Samson et Dalila. G. Hartmann & Cie. [PN G.H. 644.] unknown books
188428138Paris: Heugel & Cie. PN G.H. 1386 1884. Large octavo. Quarter red morocco with marbled boards. 1f. recto half-title within decorative vignette printed in sepia verso blank 1f. recto title printed in sepia on a dark ivory background verso blank 1f. recto dedication verso blank i named cast list ii-iii index iv blank 391 i blank pp. <br/><br/>A presentation copy with a fine large 2-measure autograph musical quotation from the first act of the opera signed and inscribed in purple ink on the verso of the half-title: "à mon cher et excellent Docteur & ami Dr. Poyet. Massenet 1881-1895." <br/><br/>Named cast includes Heilbron as Manon Molé-Truffier as Pousette Chevalier as Javotte Rémy as Rosette Lardinois as the Servant Talazac as Chevalier des Grieux Taskin as Lescaut Cobalei as Count des Grieux Grinot as Guillot de Morfontaine Collin as de Brétigny and Labis Teste Reynal Legrand Troy Davoust and Bernard. <br/><br/>With pictorial vignettes to pp. 1 7 123 178 251 289 and 355. "Variante pour les Théâtres qui n'ont pas de Ballet" to head and "Paris Imp. E. Dupré rue du Delta 26." to foot of p. 391; plate number "G.H. 1356" to cast and index leaves and "H. et Cie. 7067" to cast list and first page of music. Small "Au Ménestrel" handstamp to cast page.<br/><br/>Binding slightly worn and rubbed upper hinge split. Tear to inner margins of index leaves and pp. 153-160 not affecting text; some page numbers and "Au Ménestrel" handstamp slightly cropped. Second edition. <br/><br/>Manon to a libretto by Henri Meilhac and Philippe Gille after Antoine-François Prévost's novel L'histoire du chevalier des Grieux et de Manon Lescaut 1731 was first performed in Paris at the Opéra-Comique Salle Favart on January 19 1884.<br/><br/>The passage from which Massenet has quoted is printed on p. 94 measures 4 and 5 of the present score. <br/><br/>". In Manon herself Massenet created a portrait of the eternal feminine to rank with Mélisande and Lulu and it is on this that the opera's appeal rests. In the final analysis Manon is by way of being a 'highlights' opera lacking the cohesion and economy of more mature Massenet works but those highlights were seldom surpassed in the composer's oeuvre." Rodney Milnes in Grove Music Online. Heugel & Cie. [PN G.H. 1386] unknown books
