[ITALIAN OPERA - 19th century]Biblio.com
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36029Includes works of Battista 5 Donizetti 6 Mercadante 7 Pacini 1 Petrella 1 and Verdi 1. With contemporary mansucript index to front free endpaper. <br /> <br /> Contents:<br /> BATTISTA Vincenzio 1823-1873<br /> Ermelinda Dramma lirico in Quattro Atti di Domenico Bolognese. Monaco: Orlando e C. after 1850.<br /> - Duetto Signor Capitano. PN 599. 19 pp. <br /> - Coro alla danza. PN 600. 14 pp. <br /> - Terzettino Febo ei vieni. PN 606. 8 pp. <br /> - No. 13. Scena e Romanza. Partenopeo. PN 12093. 4 pp. <br /> <br /> Anna La Prie. Tragedia lirica di Nicola Leoncavallo. Napoli: Fabricatore e Co. ca. 1845. <br /> - Scena e cavatina Alboix. PN 105. 10 pp. <br /> <br /> DONIZETTI Gaetano 1797-1848<br /> La Favorita Melodramma tragico in 4 atti Posto in musica pel Real teatro di Parigi. Napoli: Girard e Ci. ca. 1844.<br /> - Aria O mio Fernando. PN 5181. 9 pp. <br /> - Scena e Duetto Ah moio bene un Dio t'invia. PN 5185. 12 pp. <br /> - Quartettino Deh paventa il furor. PN 5197. 4 pp. <br /> - Scene e Duetto Ah va t'invo la e questa. PN 5184. 13 pp. <br /> <br /> Maria di Rohan Melodramma tragico in tre atti di S. Cammarano . Riduzione per Canto con accompo. di Pianoforte di C. Czerny. Milano: Giovanni Ricordi 1843<br /> - N: 14. Scena e Freghier . No osoalzarcilumi! PN 14914HH. 6 pp. <br /> - Scena e Ballata . Cavalieri che veggio. Napoli: F. Fabricatore e C.; Palermo: R. Zerega. PN 146 ca. 1845. 7 pp. <br /> <br /> MERCADANTE Saverio 1795-1870<br /> Violetta Opera semiseria in 4 Atti . Rappresentata per la prima volta nel Teatro Nuovo di Napoli li 10 Gennajo 1853. Napoli: Partenopeo ca. 1856-60. <br /> - No. 22. Rondo Finale. PN 10756. 10 pp. <br /> <br /> Virginia Tragedia Lirica in tre atti di S. Cammarano . Rappresenta per la prima volta nel R. Teatro S. Carlo di Napoli il 7 Apr. 1866. Napoli: T. Cottrau ca. 1866.<br /> - No. 10. Preghiera di Virginia. PN 14610. 4 pp. <br /> - No. 14. Terzetto di Virginia Appio ed Icilio. PN 14614. 8 pp. <br /> <br /> Stratira opera tragica in tre Atti. Esuguita nel R. Teatro di S. Carlo li 8 Gennajo 1853. Poesie di Domenico Bolognese. Napoli: Partenopea ca. 1866. <br /> - No. 3. Scena e cavatina Cassandro. PN 10757. 15 pp. <br /> - No. 14. Romanza Cassandro. PN 10758. 4 pp. <br /> <br /> Orazi e Curiaze Tragedia lirica in 3 atti di S. Cammarano. Posta in musica per il Teatro di S. Carlo ov'é stata rappresentata á 10 Novembre 1846. Napoli: Girard ca. 1846<br /> - No. 2. Scena Romanza e Cavatina. PN 7555. 14 pp. <br /> - No. 13. Scena Preghiera ed Aria Finale. PNs 7565 7560 7567. 13 pp. Later issue of ca. 1856-60. <br /> <br /> PACINI Giovanni 1796-1867<br /> Malvina di Scozia. Opera in 3 acts<br /> Grande Scena Preghiera ed aria. L'orror mi rese immobile. Napoli: Fabricatore e C. PN 725 ca. 1852. 19 pp. <br /> <br /> PETRELLA Errico 1813-1877<br /> Elena di Tolosa. Melodramma in tre Atti. Eseguito nel R. Teatro del Fondo li 112 Agosto 1852. Poesia di Domenico Bolognese. Napoli: Successori della Ditta Girard ca. 1852. <br /> - No. 6. Duetto. Dembra mesta! . male! male! PN 10466. 14 pp. <br /> <br /> VERDI Giuseppe 1813-1901<br /> Rigoletto. Melodramma di F.M. Piave. Milano: Giovanni Ricordi after 1852<br /> - No. 9. Scena ed Aria "Coro nome che'il mio cor." PN N23079N. 7 i list of publisher's plate numbers for excerpts of piano-vocal piano 2-hands and piano 4-hands pieces pp. <br /> <br /> Oblong folio. 19th century black leather-backed boards. <br /> <br /> Binding somewhat worn and abraided; joints split. Occasional minor wear and soiling; some small tears. In very good condition overall. An interesting collection of scarce mostly Neapolitan imprints in all likelihood associated with contemporary performances. unknown
1959161071New York: United Press International 1959. Two vintage reference photographs from the set of the 1959 film including one glossy and single weight and one matte finish borderless and double weight. One photograph shows actor Sidney Poitier talking with producer Sam Goldwyn and the other shows Poitier with actors Dorothy Dandridge and Brock Peters. One with a provenance stamp on the verso and both with annotations in manuscript ink identifying subjects on the versos. <br /> <br /> Based on DuBose Heyward's 1925 novel "Porgy" and its subsequent 1927 opera adaptation by DuBose Heyward and his wife Dorothy with music and lyrics by George and Ira Gershwin. <br /> <br /> One of the great enduring American musicals following a disabled man in a small fishing village in South Carolina who harbors a woman attempting to flee her disreputable past.<br /> <br /> Set in South Carolina shot on location in Stockton California with some scenes shot near the San Joaquin-Sacramento River Delta in California. <br /> <br /> Matte photograph 11 x 8 inches glossy photograph 10 x 8 inches. Very Good plus lightly edgeworn with matte photograph slightly curled. <br /> <br /> National Film Registry. United Press International unknown
22363Marchetti's autograph on letterhead of the R. Accademia di S. Cecilia 'Liceo Musicale'. Rome 14 September 1892. Villari's autograph on reverse of leaf dated from Florence 2 November 1892. 1p 12mo. Leaf of lightly-browned and creased aged paper with closed tears to one edge. The two men are clearly writing in response to requests for autographs. Marchetti has written out four bars – slightly affected at end by closed tear – from what he states is 'Ruy Blas Preludio'. Beneath this he signs in a firm attractive hand 'F Marchetti'. At the head he dates: 'Roma 14 9bre 92'. On the reverse Villari has written out neatly an eight-line comment on 'Chi cessa d'essere bimbo prima del tempo' losing 'la gaiezza l'innocenza la spontaneità infantile' and all the qualities 'necessari all'uomo'. Beneath the quotation he signs in another attractive hand 'Pasquale Villari Firenze 2 Nov. 92'. Marchetti's autograph on letterhead of the R. Accademia di S. Cecilia ('Liceo Musicale'). Rome, 14 September 1892. Villari's aut unknown
1970AG-10062<p><b><i>Red Detachment of Women full Score </i></b><b><i>红色娘å军总谱</i></b><b><i> Hong Se Niang Zi Jun</i></b><br /></p><p>Beijing: Published by People's Publishing House printed by Beijing Xinhua Printing Factory distributed by Xinhua Bookstore December 1970<b> FIRST EDITION</b>. The July 1970 Script Revised and Performed Collectively by Shanghai Peking Opera Troupe. 25×18 cm. xiv 534 1 pp. Colophon. Quotations from Chinaman Mao on the second and third page printed red tilted wrappers <i>minor tear to the cover slight tears to the foot of the binding else very fine condition.</i></p><p>北京：人民出版社，1970å¹´12月第一版，新åŽä¹¦åº—å‘行。本总谱由上海京剧演出团于1970年演出本集体改编，å‰ä¸¤é¡µå¸¦æœ‰æ¯›ä¸»å¸è¯å½•ï¼Œä¹¦çš®æœ‰è½»å¾®ç£¨æŸï¼Œå…¶ä»–å“相éžå¸¸å¥½ã€‚</p><p>In China revolutionary operas or model operas Chinese: yangban xi æ ·æ¿æˆ were a series of shows planned and engineered during the Cultural Revolution 1966–1976 by Jiang Qing the wife of Chairman Mao Zedong. They were considered revolutionary and modern in terms of thematic and musical features when compared with traditional Chinese operas. Many of them were adapted to film.</p><p>Originally eight revolutionary operas Chinese: Ba Ge Yangban Xi å…«ä¸ªæ ·æ¿æˆ were produced eighteen by the end of the period. Instead of the "emperors kings generals chancellors maidens and beauties" of the traditional Peking opera which was banned as "feudalistic and bourgeois" they told stories from China's recent revolutionary struggles against foreign and class enemies. They glorified the People's Liberation Army and the bravery of the common people and showed Mao Zedong and his thought as playing the central role in the victory of socialism in China. Although they originated as operas they soon appeared on LPs in comic books lianhuanhua on posters postcards and stamps; on plates teapots wash basins cigarette packages vases and calendars. They were performed or played from loudspeakers in schools factories and fields by special performing troupes. The Eight Model Operas dominated the stage in all parts of the country during these years leading to the joke "Eight hundred million people watched eight shows."</p><p>本组剧本属于文é©æ—¶æœŸçš„å…«å¤§æ ·æ¿æˆï¼Œç”±æ¯›ä¸»å¸å¤«äººæ±Ÿé’负责制作和演出。很多被æ‹æˆäº†ç”µå½±ã€‚</p><p>最åˆæœ‰å…«ä¸ªæ ·æ¿æˆï¼ŒåŽæ¥åœ¨æ–‡é©æ—¶æœŸçš„åŽæœŸå‘展到了18个。ä¸åƒå› å°å»ºå’Œèµ„产阶级的被ç¦äº†çš„ä¼ ç»Ÿäº¬å‰§ï¼Œé‡Œé¢å‡ºçŽ°çš„ä¸çš„国王大臣少女和美人，é©å‘½çŽ°ä»£äº¬å‰§ä¸»è¦è®²è¿°ä¸å›½è¿‘å¹´æ¥çš„抗战故事，宣扬人民解放军的光辉è£è€€å’Œæ¯›ä¸»å¸çš„英勇。虽然是京剧，很快就å˜æˆäº†å„ç§å½¢å¼å‡ºçŽ°åœ¨è¿žçŽ¯ç”»ã€æµ·æŠ¥ã€æ˜Žä¿¡ç‰‡ã€é‚®ç¥¨ã€é¦™çƒŸã€èŠ±ç“¶ã€æ—¥åŽ†ç‰å„ç§åœ°æ–¹ï¼Œç”¨æ‰©éŸ³å–‡å在å¦æ ¡ã€å·¥åŽ‚ç‰åœ°æ–¹ï¼Œç”±æ¼”出团进行表演。8ä¸ªæ ·æ¿æˆä¸»å¯¼äº†å…¨å›½æ‰€æœ‰çš„舞å°ï¼Œå› æ¤æœ‰äº†8亿人看8个剧的笑è¯ã€‚</p> People’s Publishing House paperback
1971AG-10054<p>Beijing: Published by People's Publishing House printed by Beijing Xinhua Printing Factory distributed by Xinhua Bookstore January 1971 <b>FIRST EDITION</b>. The July 1970 Script Revised and Performed Collectively by Shanghai Peking Opera Troupe. 8vo vi 397 pp. colophon consists of scripts stage photos selected theme score stage action instruction and the stage design started with quotations from Chairman Mao on the second and third page printed color stage photos and instructions inside printed pictorial wrappers <i>slightly curled at the head and foot of the wrappers else very good condition.</i><br /></p><p><i>北京：人民出版社出版，1971年第一版，由上海京剧团《智å–å¨è™Žå±±ã€‹å‰§ç»„集体改编åŠæ¼”出。本书包括了剧本ã€ä¸»æ—‹å¾‹ã€å‰§ç…§ã€åŠ¨ä½œæŒ‡å¯¼ã€èˆžå°ç¾Žæœ¯ç‰å†…容。包括éžå¸¸å¤šçš„照片。书皮上下ç¨å¾®å·èµ·ï¼Œæ— ç ´æŸï¼Œå“相éžå¸¸å¥½ã€‚</i></p><p>In China revolutionary operas or model operas Chinese: yangban xi æ ·æ¿æˆ were a series of shows planned and engineered during the Cultural Revolution 1966–1976 by Jiang Qing the wife of Chairman Mao Zedong.1 They were considered revolutionary and modern in terms of thematic and musical features when compared with traditional Chinese operas. Many of them were adapted to film.<br /></p><p>Originally eight revolutionary operas Chinese: Ba Ge Yangban Xi å…«ä¸ªæ ·æ¿æˆ were produced eighteen by the end of the period. Instead of the "emperors kings generals chancellors maidens and beauties" of the traditional Peking opera which was banned as "feudalistic and bourgeois" they told stories from China's recent revolutionary struggles against foreign and class enemies. They glorified the People's Liberation Army and the bravery of the common people and showed Mao Zedong and his thought as playing the central role in the victory of socialism in China. Although they originated as operas they soon appeared on LPs in comic books lianhuanhua on posters postcards and stamps; on plates teapots wash basins cigarette packages vases and calendars. They were performed or played from loudspeakers in schools factories and fields by special performing troupes. The Eight Model Operas dominated the stage in all parts of the country during these years leading to the joke "Eight hundred million people watched eight shows."</p><p>本剧是文é©æ—¶æœŸçš„å…«å¤§æ ·æ¿æˆä¹‹ä¸€ã€Šæ™ºå–å¨è™Žå±±ã€‹ï¼Œç”±æ¯›ä¸»å¸å¤«äººæ±Ÿé’负责制作和演出。很多被æ‹æˆäº†ç”µå½±ã€‚</p><p>最åˆæœ‰å…«ä¸ªæ ·æ¿æˆï¼ŒåŽæ¥åœ¨æ–‡é©æ—¶æœŸçš„åŽæœŸå‘展到了18个。ä¸åƒå› å°å»ºå’Œèµ„产阶级的被ç¦äº†çš„ä¼ ç»Ÿäº¬å‰§ï¼Œé‡Œé¢å‡ºçŽ°çš„ä¸çš„国王大臣少女和美人，é©å‘½çŽ°ä»£äº¬å‰§ä¸»è¦è®²è¿°ä¸å›½è¿‘å¹´æ¥çš„抗战故事，宣扬人民解放军的光辉è£è€€å’Œæ¯›ä¸»å¸çš„英勇。虽然是京剧，很快就å˜æˆäº†å„ç§å½¢å¼å‡ºçŽ°åœ¨è¿žçŽ¯ç”»ã€æµ·æŠ¥ã€æ˜Žä¿¡ç‰‡ã€é‚®ç¥¨ã€é¦™çƒŸã€èŠ±ç“¶ã€æ—¥åŽ†ç‰å„ç§åœ°æ–¹ï¼Œç”¨æ‰©éŸ³å–‡å在å¦æ ¡ã€å·¥åŽ‚ç‰åœ°æ–¹ï¼Œç”±æ¼”出团进行表演。8ä¸ªæ ·æ¿æˆä¸»å¯¼äº†å…¨å›½æ‰€æœ‰çš„舞å°ï¼Œå› æ¤æœ‰äº†8亿人看8个剧的笑è¯ã€‚</p><p><i><br /></i></p> People’s Publishing House paperback
1972AG-10053<p>Beijing: Published by C printed by Beijing Xinhua Printing Factory distributed by Xinhua Bookstore Beijing Distributing Agency February 1972 <b>FIRST EDITION</b> 8vo. The May 1970 Script Revised Collectively by the China Peking Opera Troupe. iv 374 pp. colophon consists of scripts stage photos selected theme score stage action instruction and the stage design started with quotations from Chairman Mao on the second and third page printed pictorial wrappers <i>slightly curled at the head and foot of the wrappers minor tears to the edge of the wrappers else fine condition.</i></p><p>北京：人民出版社出版。本书å‰ä¸¤é¡µå¸¦æœ‰æ¯›ä¸»å¸è¯å½•ï¼Œå†…容包括了剧本ã€å‰§ç…§ã€ä¸»æ—‹å¾‹ã€åŠ¨ä½œè¯´æ˜Žç‰è¯¦ç»†å†…容，由照片和文å—çš„å½¢å¼ç»„æˆï¼Œç…§ç‰‡å›¾ç‰‡å¾ˆå¤šï¼Œä¹Ÿæ˜¯æœ¬ä¹¦çš„一大特色。书皮上下两段ç¨å¾®å·èµ·ï¼Œå…¶ä»–部分å“相éžå¸¸å¥½ã€‚</p><p>In China revolutionary operas or model operas Chinese: yangban xi æ ·æ¿æˆ were a series of shows planned and engineered during the Cultural Revolution 1966–1976 by Jiang Qing the wife of Chairman Mao Zedong.1 They were considered revolutionary and modern in terms of thematic and musical features when compared with traditional Chinese operas. Many of them were adapted to film.</p><p>Originally eight revolutionary operas Chinese: Ba Ge Yangban Xi å…«ä¸ªæ ·æ¿æˆ were produced eighteen by the end of the period. Instead of the "emperors kings generals chancellors maidens and beauties" of the traditional Peking opera which was banned as "feudalistic and bourgeois" they told stories from China's recent revolutionary struggles against foreign and class enemies. They glorified the People's Liberation Army and the bravery of the common people and showed Mao Zedong and his thought as playing the central role in the victory of socialism in China. Although they originated as operas they soon appeared on LPs in comic books lianhuanhua on posters postcards and stamps; on plates teapots wash basins cigarette packages vases and calendars. They were performed or played from loudspeakers in schools factories and fields by special performing troupes. The Eight Model Operas dominated the stage in all parts of the country during these years leading to the joke "Eight hundred million people watched eight shows."</p><p>本剧是文é©æ—¶æœŸçš„å…«å¤§æ ·æ¿æˆä¹‹ä¸€ï¼Œç”±æ¯›ä¸»å¸å¤«äººæ±Ÿé’负责制作和演出。很多被æ‹æˆäº†ç”µå½±ã€‚</p><p>最åˆæœ‰å…«ä¸ªæ ·æ¿æˆï¼ŒåŽæ¥åœ¨æ–‡é©æ—¶æœŸçš„åŽæœŸå‘展到了18个。ä¸åƒå› å°å»ºå’Œèµ„产阶级的被ç¦äº†çš„ä¼ ç»Ÿäº¬å‰§ï¼Œé‡Œé¢å‡ºçŽ°çš„ä¸çš„国王大臣少女和美人，é©å‘½çŽ°ä»£äº¬å‰§ä¸»è¦è®²è¿°ä¸å›½è¿‘å¹´æ¥çš„抗战故事，宣扬人民解放军的光辉è£è€€å’Œæ¯›ä¸»å¸çš„英勇。虽然是京剧，很快就å˜æˆäº†å„ç§å½¢å¼å‡ºçŽ°åœ¨è¿žçŽ¯ç”»ã€æµ·æŠ¥ã€æ˜Žä¿¡ç‰‡ã€é‚®ç¥¨ã€é¦™çƒŸã€èŠ±ç“¶ã€æ—¥åŽ†ç‰å„ç§åœ°æ–¹ï¼Œç”¨æ‰©éŸ³å–‡å在å¦æ ¡ã€å·¥åŽ‚ç‰åœ°æ–¹ï¼Œç”±æ¼”出团进行表演。8ä¸ªæ ·æ¿æˆä¸»å¯¼äº†å…¨å›½æ‰€æœ‰çš„舞å°ï¼Œå› æ¤æœ‰äº†8亿人看8个剧的笑è¯ã€‚</p> People’s Publishing House paperback
1781523404Venice: Balleoni 1781. Hardcover 6 volumes in 3; FULL TITLE: Sancti Bernardi abbatis primi Clarae-Vallensis Opera genuina videlicet in primo et secundo volumine; spuria dubiaque in tertio comprehensa; Horstii et Mabillonii notis aliusque permultis aucta juxta editionem Parisien. anni MDCCXIX; adjecta appendice Edmundi Martene ex veterum scriptorum & momentorum collectione; atque his omnibus in hac tertia editione Veneta accuratius revisis & illustratis. Half-bound in cream coloured leather with marbled paper sides and marbled endpapers. Gilt bands to spine have partially worn away and title labels to spine are lightly worn. Board edges are rubbed and worn leather is lightly spotted and paper sides are shelfworn. Light foxing to prelims in all 3 and on a few pages in mains throughout. V.1 and V.3 have slight hinge breaks at title pages. Water marks to gutter of pages 1182 to REP in V.3. and mark to spine of V.1. Very good condition for age. Text is clean and unmarked throughout. AD. leather. Very Good. Used. Balleoni Hardcover
1957208291957. Press photograph archive of African American women opera singers 1957-1977 documents the emergence and international recognition of Black performers within mid twentieth century classical music and operatic institutions. The images center on four prominent singers whose careers developed during and after the era of segregation when access to major stages and audiences expanded unevenly for Black artists. Figures such as Marian Anderson who broke barriers at the Metropolitan Opera in 1955 established a precedent for subsequent generations; the performers represented here advanced that presence through sustained international careers providing visual evidence of African American participation in elite cultural institutions during a period of social and cultural change.<br /> <br /> Six black and white silver gelatin press photographs each approximately 8 x 10 inches with captions and markings on recto and verso. Subjects include Adele Addison in two studio portraits from the 1950s later known as the singing voice for Bess in Porgy and Bess 1959; Shirley Verrett in two images including an early news photograph prior to a performance at Ambassador College Auditorium and a later 1976 stage portrait in formal concert dress; Martina Arroyo in a 1977 portrait during the height of her international career; and Grace Bumbry depicted in costume as Princess Eboli in Verdi's Don Carlos at the Metropolitan Opera in 1965. The photographs capture both staged publicity portraits and performance contexts documenting professional presentation and artistic identity.<br /> <br /> Produced during decades of expanding civil rights advocacy and gradual institutional integration the archive situates African American women within a field historically shaped by exclusion and limited access. Their visibility in major opera houses and concert venues reflects broader shifts in cultural recognition and professional opportunity while also underscoring the continued significance of performance as a site of racial and gendered representation. Minor edge wear; captions remain legible; overall very good condition. unknown
116404Musica Spartiti - La Palestra Musicale - Anno I - 1866 - Dal fascicolo 1 al fascicolo 38/39 - Pag. 316 - Copertina rigida - Lingua italiana. - Buone condizioni generali. Piccoli segni del tempo. - RARITA' - unknown
2224712 March 1912 31 December 1912 and the other two without year; all on letterheads of 55 York Terrace Regent's Park N.W. Total of 7pp 12mo. All in good condition lightly aged and worn. Each folded once. All signed 'Percy Anderson'. ONE: 12 March 1912. Begins: 'Your properties are quite splendid.' He thanks Clarkson and his assistant for the trouble they have taken 'over the “Mâ€'. Ends: 'I thought everything as good as it cd be – I refer to yr work of course'. TWO: 31 December 1912. He thanks him for his 'delightful' card and for 'yr. good wishes & for the tickets you so kindly send me for The Miracle. It was most thoughtful of you.' He ends in the hope that 1913 will be a crowning success you for sic & that you will have a very happy time'. THREE: 19 January no year. He is seeing 'Mr. Simmons' at 11 am the following day and will 'look in' on Clarkson afterwards. He thanks him 'for all the good work' on 'The Country Girl' adding: 'I want you to put all yr “guts†please into the “Ulysses†wigs'. FOUR: 10 September no year. 'It is too kind of you to send me those lovely figs. There's nothing I like better & I am most grateful.' FOUR: 31 December 1912. The recipient William Clarkson was the owner of Clarkson's Wigs Wellington Street London. James Morton in his 'Gangland Soho' 2012 alleges that Clarkson who has a blue plaque to his name at 41-43 Wardour Street was not only a repeated insurance fraudster but a notorious homosexual blackmailer after whom the public lavatory in Dansey Place was named 'Clarkson's Cottage'. RE Anderson & G & S: "The artist and costume designer Percy Anderson 1851-1928 was based in London where he exhibited watercolours at the New Water Colour Society in 1886. He designed costumes for the original productions of the last four Gilbert and Sullivan operas at the Savoy Theatre - The Yeomen of the Guard 1888 The Gondoliers 1889 Utopia Limited 1893 and The Grand Duke 1896 and for several D’Oyly Carte revivals including that for Utopia Limited considered by Rupert D’Oyly Carte in 1926 and but never realised. Given Gilbert’s exacting attitude to his productions it is an accolade to Anderson that he worked with Gilbert on so many including Gilbert and Edward German’s Fallen Fairies 1909 when Gilbert said Anderson: ‘surpassed himself’". 12 March 1912, 31 December [1912], and the other two without year; all on letterheads of 55 York Terrace, Regent's Park, N.W. unknown
219368Tianjin.: 毓順成 芳記. Yushuncheng fangji. Early 20th Century. Four handbills showing popular images two 13.2 x 18.4 are images of characters from Peking Opera and two 12.2 x 16.5cm depict themes important in Chinese society at the time. Text in traditional Chinese characters. Light even browning tiny closed tears at margin of one sheet repaired with washi. Very good. Chinese opera characters in the style of traditional woodblock prints were popular in the late Qing dynasty and early Republican period. Handbills of characters from Beijing opera were sold as collectible items that also helped to familiarise people with the characters of different operas; their costumes make up weapons and names. In this case there are two characters from the opera 白水灘 on one handbill and three characters from the opera 落馬湖 on the other. <br> <br>Images with social themes also made popular handbills especially in places such as Tianjin where the influence of foreigners was pronounced. In 福壽財源 we see an immortal carrying a peach of longevity surrounded by images of fertility - a young woman and boys carry fruit and flowers as well as other items symbolic of wealth - a coin a vase gold ingots and so on probably issued for New Year. <br> <br>The final handbill of the four 娶大媳婦 tells the tale of a girl of eighteen married to a boy of seven. The Chinese custom of marrying a young boy to an older girl adopted into the family is thus open for discussion - everyone in the image clearly has a different opinion of the situation; from the young husband the older farmer in the background and the two men in long scholars robes to the modern young man in a western suit with leather shoes as well as the girl herself. The practice of adopting a girl to bring up as a future wife for a male child was made illegal in 1949. The text mentions some of the ways in which the girl would be expected to help in her adoptive family's home. . 毓順成 芳記. [Yushuncheng fangji] hardcover
193963657London: Royal Opera House 1939. Folio. 8 pp. Large pictorial stiff card wrappers with tassels at spine. In custom made half red morocco solander box with leather title label and felt corner-pieces. Front and rear cover designs by Rex Whistler. Printed programme. Spotting to covers. Internally fresh. A performance by the Vic-Wells Ballet under the direction of Ninette de Valois and The London Philharmonic Orchestra conducted by Constant Lambert and Sir Thomas Beecham. Scarce. Very good example. . Near Fine. Wraps. 1939. Royal Opera House 1939 paperback
1934DEMO016439INew York: Random House 1934. First edition. Hardcover. Very Good/good. Octavo 57pp. black cloth; dj chipped archivally repaired chips; inked name of Nancy Doss on front pastedown some toning to endpapers from dust jacket. <br/><br/>Wilson A21a. Full-page inscription by Gertrude Stein to O. J. Kedlec a collector from Forest Park Illinois. Stein's inscription repeats the title of this work and she wrote it from Bilignin par Belley Ain France." Random House hardcover
18448333London. David Bogue. 1844. Lavishly bound in sumptuous tri-gilt ruled full crimson calfskin. Gilt tooled fleurette motifs to corners of front and rear covers. Elaborate gilt ruled spine compartments with intensely ornate gilt tooled fleural vignettes. Gilt tooled raised bands. Decorative gilt tooled and titled morocco label. Elaborate and ornate paneled turn-ins. Marbled endsheets. a.e.g. 4to. 7.25" x 10.75". The First Edition. Illustrated with ten full page illuminated steel plate engravings and further throughout by various wood engravings en texte. Elaborate multi-chromatic decorative borders to each page. A Fabulous production detailing the mid-Victorian Opera and Ballet featuring plate engravings of notable singers dancers and productions. With its high gloss engravings whimsical en texte woodcuts and highly stylized colour page borders this volume represents one of the finest examples of Victorian book design. Niles and Leslie V1-225; Moroda-1272. Some darkening and/or mild scuffing to covers. Hinges present previous repairs but are tight and firm. Corners gently bumped. Head and tail pieces lightly chipped. A very Good copy of this breathtaking work. David Bogue. hardcover
17913005370Paris: l'Auteur 1791. Some small tears and damage. A very good copy. Octavo; original condition stitched in plain blue-grey wrappers. <p><p>First edition of one of the most popular operas of the Revolution depicting the down-trodden villagers of the Moon after the arrival of the glamorous aviator Nicodème bringing news of events in France via Montgolfier balloon. Although this was an era of tremendous advances in stagecraft as the theatres of Paris and London vied with each other for the most stupendous effects Beffroy's lunar setting and the use of space travel by hot-air balloon was highly unusual. </p> <p>Beffroy de Reigny 1757-1811 was a successful journalist and dramatist usually writing under the nom-de-plume of "Cousin Jacques." His most important works were written in the period immediately following the French Revolution and he was fond of using lunar society to satirise the French as can be seen in his burlesque journal Les Lunes and its successor the Courrier des planètes.</p> <p>This is one of several Paris editions of the same year another appeared in Avignon and a "third" edition of 1797 is also recorded the last with subtle but pessimistic changes to the text. As the title confirms the opera was first performed in November 1790 running for over four hundred performances.</p> </p> . l'Auteur unknown
19392091202133104999Takarazuka Girls Opera Company 1939. Soft Cover. Fine. Volume: 1 Takarazuka Girls Opera Company paperback
20112081502111901247Chinese Encyclopedia Publishing House 2011. Soft Cover. Fine. Number of books: 2 hardcovers Chinese Encyclopedia Publishing House paperback
1972AG-10057<p><b><i>The Red Lantern Script</i></b><b><i>红ç¯è®°</i></b><b><i> Hong Deng Ji</i></b><br /></p><p>Beijing: Published by People's Publishing House printed by Beijing Xinhua Printing Factory distributed by Xinhua Bookstore Beijing Distributing Agency February 1972 <b>FIRST EDITION</b> 8vo. The May 1970 Script Revised Collectively by the China Peking Opera Troupe. iv374 pp. colophon consists of scripts stage photos selected theme score stage action instructions and designs beginning with quotations from Chairman Mao on the second and third pages printed pictorial stiff cover wrappers <i>fine condition.</i></p><p>京剧《红ç¯è®°ã€‹å‰§æœ¬</p><p>北京：人民出版社出版，ä¸å›½äº¬å‰§å›¢é›†ä½“制作，基于1970年五月演出本，1970å¹´12月第一版，书的å‰ä¸¤é¡µæœ‰æ¯›ä¸»å¸è¯å½•ï¼Œå…±374页主体内容。精装，å“相éžå¸¸å¥½ã€‚</p> People’s Publishing House hardcover
1818D7301Leipzig: Breitkopf & Härtel 1818. Hardcover. Very Good. Oblong folio 330 x 240mm. 184 pages. Complete vocal score. Notated music. Added engraved title page: Il dissoluto punito; osia Il Don Giovanni. Dramma giocoso in due Atti posto in Musica da Wolfgang Amadeus Mozart. Ridotto per il Pianoforte da A.E. Müller with vignette of Don Giovanni scene by Fr. Bolt after Kininger Pr. 4 Rthlr. Italian-German text. Richly bound in crushed green morocco handsomely gilt with device of lyre and central lozenge on front and rear covers spine done in the same and lettered in gilt Don Juan Mozart speckled edges; toned and only lightly foxed few pages margins lightly torn or with paper repairs not frequent good with all with engraved music otherwise. <br/><br/>1818 Leipzig printing for the vocal score of Mozarts famous opera Don Giovanni. Italian librettos were translated into German owing to the growing popularity of opera in Germany during the last decade of the 18th century; contemporary to Mozarts death in 1791. Mozart immediately accepted at least the title under which on of his works would become known in the German-speaking countries: writing home on 3 October 1790 he reported on Tuesday the theatrical company of the elector of Mainz are performing my Don Juan. German communities variously received Mozarts operas; the battle between the aristocratic and bourgeois audiences raged to and fro. When Don Juan played for the first time in the Frankfurt theater it was deemed suitable for the general public but not for its educated section. Yet the critics could all concede of Mozarts popularity and that the subject matter turned the heads of the public. This fine well-preserved dual text is an early and complete keyboard transcription of the opera. It gives Lorenzo da Ponte's original Italian with the German translation by Schröder underneath. Excellent piece of music history and staple of the standard operatic repertoire. Breitkopf & Härtel hardcover
1976171236Various cities: Various 1976. First Edition. Collection of material relating to the seminal 1976 opera including a First Edition copy of the 1976 EOS Enterprises publication a circa 1976 program for two Dutch stagings of the opera at Rotterdamse Schouwburg and Theater Carré and a program for a 1976 German staging of the opera at Deutsches Schauspielhaus in Hamburg. Text variously in English Dutch and German.<br /> <br /> Book Near Fine in perfect-bound wrappers with light rubbing and toning to the spine and wrapper extremities.<br /> <br /> Programs Near Fine one unbound and measuring 8.25 x 11.25 inches the other saddle-stapled and measuring 6.25 x 8.25 inches. Various unknown
169723479Oxford: Etheatro Sheldoniano 1697. leather_bound. Contemporary cambridge style binding in full brown calf. Very good. Folio6 A4-Ppp4 Qqq-Pppp Qqqq2-Zzzz2 Aaaaa-Mmmmm. The first English edition of the Greek text edited by Richard West & Robert Welsted. Engraved portrait of Pindar by M. Burghers facing the title page. DIBDIN II 289. "a beautiful and celebrated edition. on the whole we must allow that the editors of this magnificent work have taken infinite pains to bring together every thing which could illustrate and improve the reading of the poet". The editors compared the Mss held by the Bodleian with that of the Biblioteca Palatina. Engraved portrait of Pindar and large title page vignette by M. Burghers. Pindar c. 522 – c. 443 BC was an Ancient Greek lyric poet of the classical period from Thebes and the first Greek poet to reflect on the nature of poetry and on the poet's role. Errata. BRUNET IV p.659. Armorial bookplate. Raised bands spines richly gilt small front cover nick scrape lower front cover corner binding tight with leaves at end of text of Pindari Opera Omnia leaves Oooo-Mmmm toned. Etheatro Sheldoniano unknown
1923370639New York 1923. Mounted photograph of the Opera House. Calligraphic presentation leaf extracts from programs inlaid in large folio leaves 120 2 index ff. 1 vols. Folio. Full deep red morocco gilt spine with five raised bands boards with triple fillet borders navy blue doublures silk flyleaves t.e.g. Faintest traces of rubbing. Fine. Mounted photograph of the Opera House. Calligraphic presentation leaf extracts from programs inlaid in large folio leaves 120 2 index ff. 1 vols. Folio. Elaborate and attractive album of extracts from the printed programs of the Metropolitan Opera House in New York a record of opera productions from 1915 to 1922 listing the principal performances and also retaining the lists of box holders which functions as a who's-who of New York society. There are several newspaper clippings including an account of the farewell performance of Mrs. Geraldine Farrar in Tosca.<br /> <br /> Presented to Henry Fletcher by his wife Ethel née Thompson on the tenth anniversary of their wedding. Henry Fletcher 1877-1953 of Greenwich Connecticut was a member of the Grolier Club until his death and a major benefactor of the Yale libraries. unknown
192451696New York NY; Hollywood CA; Taos NM: Underwood & Underwood Anderson Lumiere Guard Vitaphone Studios Metropolitan Music Bureau 1924-1927. Twenty seven items. With 24 photographs 3 sized 3.5 x 5.5 in.; 6 sized 5 x 7.75 in.; 1 w/ colour-tinted blue sized 7.25 x 9.5 in.; 16 sized 8 x 10 in.; many w/ annotations dating the photos in pencil some of the press photos and studio photos stamped on versos with attached newsreel information blurbs many w/ text in negative at lower corner of image; 1 very large colour lithograph poster printed on linen showing the young opera star seated and colours of pink gold and black sized 40 x 80 in. w/ wood bars at upper & lower for hanging some minor creasing from rolling but in Fine condition; and TLS from Lawrence H. Smith at Underwood & Underwood Inc. News Picture Division to Miss Marion Talley. These photographs and giant lobby poster provide splendid artifacts for the lavish attention paid to a young star at the beginning of her career during the Jazz Age. The very large poster is a beautiful example of colour lithography showing her demurely seated against a pink lozenge background with advertisements at the foot of the poster for Steinway Piano and Victor Records. Marion Talley 1906-1983 was the daughter of a telegraph operator for the Missouri Pacific Railroad and by 15 she was appearing in the Kansas City Grand Opera Company of Mignon by Abroise Thomas and quickly became a local celebrity often performing benefit concerts. She studied with music teacher Frank LaForge famed soprano composer who maintained a close relationship with the Metropolitan Opera and was placed under contract in 1925 by Giulio Gatti-Casazza at age 19 becoming the youngest principal female performer in the Met’s history to that point. Her debut performance was Feb. 17 1926 as Gilda the daughter of the title character in Verdi’s Rigoletto. The press photos show her surrounded by the many flowers she received in the 18 encores her performance on stage meeting the opera diva Ernestine Schumann-Heinck d. 1936 as well as her appearance on radio with Marguerite D’Alvarez and Giovanni Martinelli singing Home! Sweet Home!. In addition she also starred in the first Vitaphone short sound films released in 1926 with Don Juan starring John Barrymore and another Vitaphone short performing “Bella figlia dell’amore†from Rigoletto but the critics were savage criticizing her performances and her lack of appeal on camera. During this period she traveled extensively to Europe and through the southwest as evidenced by the series of photos showing her in Taos with the burros young Native American children and adults in regalia as well as her automobile. The photo of the young star by Samuel Lumiere 1878-1971 is a very nice example of his portrait work during the height of the 1920s when he was under contract to shoot celebrities for the Chicago Tribune. See: Barrios A Song in the Dark: The Birth of the Musical Film pp. 20-29; Vitaphone Marks 80th Anniversary Vitaphone News The Vitaphone Project Vol. 8 No. 1 2006; Crafton The Talkies: American Cinema’s Transition to Sound 1926-1931 1999. Underwood & Underwood, Anderson, Lumiere, Guard, Vitaphone Studios, Metropolitan Music Bureau, unknown
196088091<p><b>CULTURAL REVOLUTION MODEL OPERA</b></p><p>Manuscript Ledger Master Inventory: General Record of Stage Props for a traveling Chinese theatrical repertory company introducing Revolutionary Opera into its program including costs for creating silk stage props sets costumes and scenery with various paper slip receipts some loose dated from 1963 to 1969. Oblong album measuring 7-3/4 x 10-5/8 inches contents with 20 numbered leaves of double-sided ruled ledger; bound in brown cloth-backed plain light blue paper board with lettered pink paper label decorative pattern endpapers originally with ribbon-tied spine now lost contents loose.</p><p>Includes entries for the revolutionary opera <i>Taking Tiger Mountain</i> 1968 with one entry bearing signature of Wang Xiu Wen dated 12 September 1967. Includes a pink silk armband laid into the album inscribed "Mei Ying Shan" which could be translated as Huaying Mountain. </p><p>https://www.youtube.com/watchv=cjE0LDNycE8</p><p>There is also reference to a 1961 novel which the Bejing Film Studio made into a movie called <i>Lie Huo Zhong Yong Sheng</i> Living Forever in Burning Flame its IMDB title translated as <i>Red Crag</i> based partly on fact by Chinese authors Luo Guangbin and Yang Yiyan former inmates in a Kuomintang prison in Sichuan. It was set in Chongqing during the Chinese Civil War 1949 and featured underground communist agents under the command of Zhou Enlai fighting an espionage battle against the Kuomintang. The story takes place in Huaying Mountain.</p> hardcover
199914955JAbsecon: MagicImage 1999. First Edition First Printing. Laid in is an Autograph Letter Signed by Mary Philbin co-star with Lon Chaney Sr. in the classic film written to the book’s author Philip J. Riley. Dated September 11 1989 Philbin writes: “Dear Mr Riley: I am sorry about the delay in returning the book and papers. I would appreciate eleven complimentary copies of The Phantom of the Opera book or if you cannot then as many as possible. Thank you Mary Philbinâ€. Accompanied by the original hand-addressed envelope from Philbin’s home in Los Angeles. Philbin died before the book was published so this is as close as one can come to a signed copy. Large 317 page paperbound book. Profusely illustrated. Near fine copy enclosed in a handsome morocco leather and cloth clamshell box. MagicImage hardcover
