Jules MASSENETBiblio.com
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187975877Budapest 1879. Fine. Budapest 17 janvier 1879 11 x 17.50 cm 4 pages sur un feuillet remplié Autograph letter signed by Jules Massenet two pages written in black ink on a double sheet. Fold inherent to mailing. A small split at the junction of the two sheets without gravity. Fine letter written by the composer during his first stay in the Hungarian capital for Le Roi de Lahore whose premiere took place eight days later: ""Répétition générale ce matin . excellente exécution"" ""General rehearsal this morning . excellent execution"". Massenet mentions the setbacks that occurred which forced the postponement of the opera's programming: ""La Benza Ida notre Sitia ne pouvant chanter demain à cause de son deuil la première est remise à huit jours."" ""La Benza Ida our Sitia unable to sing tomorrow because of her mourning the premiere is postponed by eight days."". This letter also evokes the friendship between Massenet and Franz Liszt more than thirty years his senior who took the young composer under his wing at the Villa Medici in 1863: ""Je viens de chez Liszt il est arrivé cette nuit à Peth et sera à la première."" ""I come from Liszt's he arrived last night in Pest and will be at the premiere."". Surprised by the hostile climate of this region he is visiting for the first time Massenet comments: ""Le froid est affreux la neige exaspère nous allons au théâtre en traîneau . Restez au coin du feu ah ! que vous souffririez de cette température je t'assure que c'est la sensation de la Russie la neige couvre tout. . je ne sors pas même un oeil quel hiver même pour les Hongrois enfouis dans leurs peaux comme des Lapons !"" ""The cold is dreadful the snow is exasperating we go to the theater by sleigh . Stay by the fire ah! how you would suffer from this temperature I assure you it's the sensation of Russia snow covers everything. . I don't even stick my nose out what a winter even for the Hungarians buried in their furs like Laplanders!"". unknown
1024459802.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
036654392X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
0364985372.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
0656595272.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1396060006.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
191250425Paris 1912. Letter. very good . An 11 line letter signed from Jules Massenet to Frederic Febvre. Massenet 1842-1912 was a French composer of operas and Febvre 1835-1916 a French actor and the most popular leading man in Paris during his day. The letter is in French and roughly translates to - "what a reward for me to be rated so highly by a man of your importance by the celebrated and incomparable artist by the man of letters that you also ar! With enthusiasm.thank you! Massenet. I received your wonderful flowers thank you dear great friend. J. Massenet." The letter is framed alongside a photo of Massenet. Frame measures 14x18". <br/><br/> unknown
2080681737.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1999PA1696A near fine Hardcover with near fine DJ ex-library with stamps stickers & markings.<br /> Somogy hardcover
0259105473.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
0332438023.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
115540Very Good. Small octavo one page verso blank with a conjugate blank; no year or address given but 'En hate . le 19 Nov .'. Folded once across the centre; in excellent condition with the signature large bold and underlined. One of the curiosities of Massenet is that he habitually signed with M. rather than his given name or initial. Massenet has come back into fashion and is more performed now than in the late twentieth century. <p>Provenance: Collection of The Hon Barry Jones AC. unknown
190679662Paris: Heugel 1906. First. hardcover. fair. Vocal score. Hardcover binding scuffing and fraying of cover corners and edges significant scuffing to leather spine. French text. Da Capo Vocal Scores Section PAS 2/22 Heugel hardcover
190629920Paris: Au Ménestrel Heugel & Cie. H. & Cie. 22179 1906. Folio. Full dark brown cloth titling gilt to spine. 1f. recto quotatons verso blank 1f. recto title printed in dark purple verso blank i notes on first performance and named cast list ii-iii contents iv blank 2-152 145-352 pp.<br /> <br /> Named cast includes Bréval Grandjean Lucy Arbell Demougeot B. Mendès Laute Muratore Delmas Triadou and Stamler.<br /> <br /> Binding slightly worn and rubbed; corners quite bumped; spine reinforced with tape; two antiquarian catalogue descriptions laid down to front pastedown; annotations in ink to front free endpaper. Some signatures split; small rectangular publisher's handstamp to lower margin of cast list. First Edition.<br /> <br /> First performed in Paris on October 31 1906 under the direction of M. P. Gailhard. <br /> <br /> "Ariane was designed on a grand scale and grandly staged at the Opera in 1906. Catulle Mendès's libretto treats Theseus's flight from Crete with Ariadne as well as her sister Phaedra with whom he falls in love. Its success was largely built on the fourth act in which Ariadne descends to the underworld to plead with Persephone to restore her dead sister. Lucy Arbell from then on to be closely associated with Massenet's operas made a great impression in the role of Persephone especially with her aria 'Des roses des roses' a late addition to the score. The third act in which Ariadne pleads with Phaedra to intercede with Theseus on her behalf is scarcely less touching. Of all the many operas on the Theseus myth this is one of the few to include Phaedra and to dramatize the rivalry of the two sisters for Theseus's love."<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 & Cie. [H. & Cie. 22179] unknown
0282343199.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
0484850555.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1016270127.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1016274831.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
396582 measures notated in black ink from the composer's noted song at head identified as "Élégie" signed and dated Paris 1900 at lower portion. <br /> <br /> Inscribed to the American composer violin collector and banker Louis M. Teichman ca. 1855-1934 "a Mr. Louis M. Teichman trés sympathiquement" at right margin.<br /> <br /> On a cabinet card with a bust-length photograph of the composer laid down to studio mount with "van Bosch . Paris" printed to lower margin. <br /> <br /> Photograph lightly browned; mount more heavily browned with remnants of adhesive to lower margin; slightly bumped at right corners; remnants of former mount to verso with annotations in pencil and ink and stamp of "Meyer Bros. & Co." in New York to lower margin. Élégie a song to text by Massenet's long-time librettist Louis Gallet 1835-1898 was composed in ca. 1872 and published in 1875.<br /> <br /> Massent was one of the most prolific and successful composers of opera in late 19th-early 20th century France; in addition he composed over 200 songs. "The salon culture of his day absorbed songs in great numbers and most of them were published for an avid market usually as individual songs sometimes in collections or cycles. . As might be expected Massenet always writes carefully and sympathetically for the voice sets French with impeccable taste and devises idiomatic and evocative piano parts." Annegret Fauser Patrick Gillis and Hugh Macdonald in Grove Music Online. unknown
22515Egreville 17 June no year given. In French across 3 pp. 6 x 5 inches fine. Jules Massenet 1842-1912 French composer. unknown
22512Brussels 23 January 1883. In French. 2 separate pages. 7 x 4 iches in good condition. Jules Massenet 1842-1912 French composer. unknown
22533Paris 21 October 1885. In French. 2 pp. 7 x 4 inches fine. Jules Massenet 1842-1912 French composer. unknown
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 /> Provenance<br /> The collection of the distinguished American mezzo-soprano 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
1903303411903. 1 page. Octavo. Dated Paris December 8 1887. In French with translation. <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 /> 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
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
