19 958 résultats
19782092902138302100Taimasa Shoji Publishing Department 1978. Soft Cover. Fine. Number of pages: 372p Size: 21cm Taimasa Shoji Publishing Department paperback
1927503491<p>Half-length pose by Witzel Los Angeles signed and inscribed: "To Joseph Huntley - With the best of good wishes Virginia Flohri 1927." 9 1/2" x 7 /12" Very good. Rare.</p><p>Flohri 1893-1974 opera singer; screen credit "Alibi" 1929.</p> unknown books
1927503491<p>Half-length pose by Witzel Los Angeles signed and inscribed: "To Joseph Huntley - With the best of good wishes Virginia Flohri 1927." 9 1/2" x 7 /12" Very good. Rare.</p><p>Flohri 1893-1974 opera singer; screen credit "Alibi" 1929.</p> unknown
9979Undated. England 1880s. 4to 4 pp. Bifolium. 87 lines. Text clear and complete. Fair on aged paper with wear to extremities and a spike hole to one corner. Written in ink in a Victorian hand and with three changes in pencil. Docketed at head 'The art of Vocalization'. Towards beginning writes that the subject is one which he has 'studied many years in close connexion with the most eminent Masters of Italy most of whom I may rank among my personal friends and the pith of whose conversations added to my own experience I propose embodying in a few short essays upon the Formation of the Voice'. Gives 'the advice of a tenor singer of some renown in Otello &c literally as I heard it spoken to a student - the author died two years ago at Milan' beginning: 'I know but little of music - in comparison to me you are a professor - my voice was by nature imperfect - my figure is diminutive - yet I have been 1st tenor of some of the best Theatres and with success - mark me if you want to sing .'. Ends with offer to extend his remarks 'to the other Voices' in 'a future number'. Undated. [England, 1880s? unknown
91p., illus. Hardcover Good condition. spine ends worn, lightly soiled Limited edition of 350 copies signed by Geraldine Farrar
197699606<p>Monte-Carlo Comite de Gestion de l'Orchestre National de l'Opera de Monte-Carlo 1976. 1976. Fine. - An original invitation from the Palais de Monaco printed on 9-3/8 inch high by 6-1/8 inch wide glossy card stock with an integral attached blank leaf with the country's seal at the head. Mostly printed with "Monsieur et Madame Hugues Gall" and "ils seront" invites penned in ink. The invitation to the gala held at the Opera de Monte-Carlo on the occasion of the Fete Nationale is to be held on Friday November 19th 1976 "Par ordre de Leurs Altesses Serenissimes l'Aide de Camp a l'honneur d'informer Monsieur et Madame Hugues Gall qu'ils seront invites a la soiree de gala. en l'honneuyr de Leurs Altesses Serenissimes le Prince Rainier III et la Princesse de Monaco." The invitation is accompanied by the program for the Opera de Monte-Carlo November 20 1976 gala choregraphique. The 10-5/8 inch high by 8-1/4 inch wide program is bound in stiff cream wraps titled in gilt with a color illustration mounted on the front cover. The 8-page program includes performances of "Le Pecheur et son Ame / creation mondiale avec Tetsutaro Shimizu Yoko Morishita Egon Madsen et le Ballet de l'Opera de Monte-Carlo" and "Les Grands pas de Deux avec par ordre alphabetique Richard Cragun - Michael Denard - Marcia Haydee - Egon Madsen - Yoko Morishita - Merle Park - Tetsutaro Shimizu - Ghislaine Thesmar - Helgi Tomasson" as well as short extracts from other works. Near fine.</p><p>The National Day of Monaco was first celebrated on November 19th 1952 by decree of Prince Rainier III. The day is marked every year by celebration music and festivals etc.</p><p>The French opera manager Hugues Gall 1940-2024 was head of the Grand Theatre de Geneve and the Paris Opera. He held several influential positions in art and cultural organizations and was director of the Fondation Monet in Giverny.</p> Monte-Carlo, Comite de Gestion de l'Orchestre National de l'Opera de Monte-Carlo, 1976. paperback
1985100069<p>New York October 8 1985. 1985. Fine. - Over 30 words penned on her embossed 4-1/8 inch high by 6-1/8 inch wide personal postcard stock. The actress Kitty Carlisle thanks her good friend City Center producer Jean Dalrymple "What a good friend you are! I will follow the prescription to the letter & pray that its sic not too late!!" Signed "Kitty". The card is addressed in her hand on the verso and postmarked from New York on October 8 1985. Fine.</p><p>Inducted into the American Theater Hall of Fame in 1999 Kitty Carlisle Hart 1910-2007 was an American stage & screen actress opera singer and television personality. A spokesperson for the arts she served on the New York State Council for the Arts for 20 years. Kitty Carlisle played the leading lady opposite Groucho in the Marx Brothers movie "A Night at the Opera" and regularly appeared on "To Tell the Truth".</p><p>Jean Dalrymple 1902-1998 was the dynamic producer and director of theater and light-opera at Manhattan's City Center. Dalrymple began her career in Vaudeville appearing with James Cagney and Cary Grant in the early 1930s. She was a founding member of the American Theatre Wing the theatre service organization. She worked over the years as a personal manager for the likes of Leopold Stokowski Mary Martin Jose Iturbi Andre Kostalanetz Nathan Milstein and Lily Pons. She began her work at City Center with its founding in 1943 serving as a board member producer and publicist. Her productions there from the 1940s through the 1960s were a revitalizing influence on the whole New York theatre scene. In 1951 Jean Dalrymple married Major-General Philip deWitt Ginder commander of the Thunderbirds in Korea. She was a friend to Presidents and entertainment personalities throughout the world.</p> New York, (October 8), 1985.
19060007583Boston: Perry Mason Company 1906. First edition. Hardcover. Good. Folio 672 pages in publisher's embossed "yearbook" cloth with original wrappers bound in; occasional clips missing rehinged insect damage at fore-edge of top cover. <br/><br/>This poem by Robert Lee Frost at p. 38 appeared without his knowledge - ignorant for years - long before its first book appearance in A BOY'S WILL see Crane's Frost bibliography E44. Other contributors include Hamlin Garland Gen. Charles King H. Rider Haggard Margaret Deland Gen. A. W. Greely Agnes C. Laut Jack London Capt. A. T. Mahan Robert E. Peary William McLeod Raine Charles G. D. Roberts Margaret E. Sangster Luther Burbank Mary Austin Grover Cleveland Helen Keller and Emerson Hough on Davy Crockett. Perry Mason Company hardcover
1980010713Scholar Book Publishers 1980. Book. Fine Condition. Cloth. 324 pages. Folio sized hardcover bound in cream colored cloth and wrapped in an illustrated paper dustjacket. Not dated in English but possibly published c. 1980. Texts in Chinese with a single paged English summary separately laid in. The binding is tight and crisp with no interior markings. The dustjacket now protected by a Mylar cover is in equally fine condition with no tears or losses. Lavishly illustrated with large full color drawings photographs and paintings as well as a number of smaller black and white images that help even the non-Chinese reader to grasp the changes in style and ornament throughout the history of perhaps the oldest civilization of the world. The reader of Chinese will benefit from the great amount of text which presumably offers a scholarly context for the images The English summary counted nine chapters 160000 words and 834 illustrations including 346 color photographs. Beginning with what looks to be a deer pelt adorned with a necklace of shells this history of fashion concludes with the modern stylings of the twentieth century woman in slacks and knee-length dresses. Scholar Book Publishers Hardcover
72198Peking China: Peking Opera 200. Presumed first edition/first printing. Hardcover. Fair. Lavishly illustrated including illustrating on otherwise clear plastic. Text in Chinese and English. Cover has slight wear and soiling. Some pages are disbound but present and suitable for framing. Appears complete. Peking opera or Beijing opera is a form of Chinese opera which combines music vocal performance mime dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing dynasty court and has come to be regarded as one of the cultural treasures of China. The art form is also preserved in Taiwan Republic of China where it is known as Guójù literally: "National theatre". Peking opera features four main types of performers. With their elaborate and colorful costumes performers are the only focal points on Peking opera's characteristically sparse stage. They use the skills of speech song dance and combat in movements that are symbolic and suggestive rather than realistic. Above all else the skill of performers is evaluated according to the beauty of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The layers of meaning within each movement must be expressed in time with music. . Melodies include arias fixed-tune melodies and percussion patterns. The repertoire of Peking opera includes over 1400 works which are based on Chinese history folklore and increasingly contemporary life. Types of facial makeup are a special method of makeup in Chinese traditional operas. Since every historical character or characters of a certain type are provided with a particular facial type similar to music scores for singing and playing music such a method of makeup is named "Types of facial makeup". Among all Chinese traditional operas types of facial makeup in Peking Opera have developed into the most systematic and mature one. Historical characters in Chinese traditional Peking Opera are provided with different types of facial makeup. They can reflect the identity status personality and appearance of the characters and therefore can intensify the artistic appeal on stage. As an impressionistic and exaggerated art types of facial makeup in Peking Opera is featured by painting brows eyelids and jowls in various patterns such as bat swallow wing and butterfly wing. Also it is characterized by portraying facial expressions with exaggerated nasal fossas and lipped fossas. The age can be reflected by the height and shape of "Crow's-feet" temperament by the opening and closing of "Chordal furrow" and personality by different patterns of "Glabella furrow". Additionally in the types of facial makeup in Peking Opera there exist some invariable images including white-faced Tsao Tsao and black-faced Bao Zheng. The white-faced image symbolizes wickedness and viciousness while black-faced image stands for equity and selflessness. Due to unchangeable rules in types of facial makeup personalities of a character with certain facial makeup can be seen from the facial colors and figures. As one of the onstage art techniques various types of facial makeup in Peking Opera enable the audience to know a character's personality easily and accordingly get more involved in the appreciation of the performance. Thus types of facial makeup enjoy the fame of "Interior Pictures" which is an extremely crack skill of art exclusively existing in Chinese operas. Patterns of theatrical masks have served as a symbol of China. Nowadays on the market there appear many exquisite and aesthetic commodities and stamps printed with such patterns which are of high appreciating and collecting values. Peking Opera hardcover
3735785<p>New-York: Samuel French 121 Nassau Street 1855. 8vo. 34 2pp. Original printed wrappers ornamental border; light wear partial splitting along length of spine clean and well-preserved.</p> <p>Scarce American libretto for a mid-19th-century English opera troupe’s rendition of Rossini’s Cinderella performed at the Broadway Theatre in New York. While Rossini’s score is credited the adaptation is Anglicized and adjusted to suit the Broadway Theatre’s stage and audience. Based loosely on Rossini’s La Cenerentola 1817 this booklet was sold or distributed at performances serving both as a libretto and souvenir.</p> <p>This 1855 production starred Miss Louisa Pyne in the title role and Mr. W. Harrison as Prince Felix two leading figures of the Pyne & Harrison Troupe known for popularizing English-language opera in America during the 1850s. The cast list includes comic and magical roles such as Dandini Clorinda Thisbe and the Fairy Queen.</p> unknown
51-1774San Francisco: 1971. . Poster. 34 x 22 inches. Photography by Pete Peters. San Francisco: 1971. unknown
1977100072March 5 1977. 1977. Fine. - One-and-a-half pages with over 85 words penned on both sides of 10-3/8 inch high by 7-1/8 inch wide creamy white paper. The Opera director and producer tells Jean Dalrymple that he'd "be delighted to hear Jay Willoughby. However I'm off to San Francisco very shortly for Carmen". He asks if Willoughby could contact him when he's back. He goes on to invite Jean to the "second set of performances May 19-22 - featuring the first performance of Dominick Argento's monologue A Water Bird Talk and an incredible chamber opera written in Theresienstadt concentration camp - The Emperor of Atlantis." Signed in full "Ian Strasfogel". Folded for mailing the edges are very faintly darkened. Near fine. <p>The one-act opera "The Emperor of Atlantis or The Disobedience of Death" Der Kaiser von Atlantis oder Die Tod-Verweigerung was composed by Viktor Ullmann and Peter Kien while interned at the Theresienstadt concentration camp in 1943. It was not allowed to be performed and the script was not finished until the 1970s. The poet Aaron Kramer prepared an English translation which the San Francisco Spring Opera Theater first performed in April 1977 and which had its New York premiere at the New Opera Theatre of the Brooklyn Academy of Music on May 19 1977. The world premiere of Dominic Argento's "A Water Bird Talk" also took place at the Brooklyn Academy of Music that same evening.<p>The opera director and producer Ian Strasfogel born 1940 was the author of several plays screenplays and librettos and of a novel titled "Operaland". Strasfogel directed over 100 productions throughout Europe and North America and frequently collaborated with Gyorgy Ligeti Luciano Berio Bruno Maderna Hans Werner Henze and Otto Piene.<p>Jean Dalrymple 1902-1998 was the dynamic producer and director of theater and light-opera at Manhattan's City Center. Dalrymple began her career in Vaudeville appearing with James Cagney and Cary Grant in the early 1930s. She was a founding member of the American Theatre Wing the theatre service organization. She worked over the years as a personal manager for the likes of Leopold Stokowski Mary Martin Jose Iturbi Andre Kostalanetz Nathan Milstein and Lily Pons. She began her work at City Center with its founding in 1943 serving as a board member producer and publicist. Her productions there from the 1940s through the 1960s were a revitalizing influence on the whole New York theatre scene. In 1951 Jean Dalrymple married Major-General Philip deWitt Ginder commander of the Thunderbirds in Korea. She was a friend to Presidents and entertainment personalities throughout the world. March 5, 1977. unknown
Firenze; cm. 16,5 x 25; vol. I: xxiii-234 pp.; vol. II: 480 pp. Istituto nazionale di studi sul Rinascimento - Atti di convegni 1365 gr. xiii-714 p.
109 gest. S. Gr. 8°. HLdr. d. Zt. Beigebunden: Monsigny: Rose et Colas. Réduction piano et chant F.A. Gevaert. Paris : Girod, PN E.G. 4481, [189-?]. - 121 lithogr. S. "Le magnifique" mit eigh. Widmung und Unterschrift des Komponisten (à monsieur Troy).
Fine English Original cloth bdg. Roy. 8vo. (24 x 17 cm). Texts in Romanian, German, French, Russian, Greek. 270, [1] p., b/w plts. Opere complete. Scurta povestire despre stârpirea familiilor lui Brâncovenau si a Cantacuzinilor. Memorii catre petru cel mare, (1717 si 1718). Vol. VI. Tomul II.
1850835A67New York: Printed for Stringer and Townsend c1850. Cloth. Very Good. 7.5" by 5" . Not Stated . First and second series of this work concerned with the New York scene by Donald Gran Mitchell. Complete with two volumes both the first and second series. Comprising travel letters and journalistic articles mainly dedicated to the New York scene. Written by American essayist Donald Grant Mitchell published anonymously under 'An Opera Goer.' The second edition of this work with frontispieces and illustrations throughout. Dated from Jisc. In the original publisher's full cloth binding. Externally smart with shelf wear bumped to head and tail of spine chipped along front joint second series boards lightly marked. Internally firmly bound. Spotting throughout. Very Good Printed for Stringer and Townsend hardcover
20984On letterhead Glyndebourne Lewes Sussex. 22 March 1956. 1p. 12mo. In envelope addressed to Giles at Moulsecoombe Brighton. In good condition lightly aged. He has looked for Giles's letter 'but cannot – yet – find it. Sorry. I vaguely remember it.' He will find Giles '2 tickets for a Dress Rehearsal if you will let me know which one.' Options of six operas on six different days are listed including Figaro and Giovanni. On letterhead, Glyndebourne, Lewes [Sussex]. 22 March 1956. unknown
4303Paris, Mme Veuve Launer, sans date (vers 1860). In-4 (27 cm) (2) feuillets, 224 pages. Reliure demi-chagrin vert, plats toilés, gardes marbrées, dos lisse orné de roulettes et filets dorés. Reliure frottée légèrement aux coiffes et aux coins. Trois premiers feuillets acidifiés, autrement bel état. Cachets de la Société Chorale Union Lyrique du Havre. [ Vve L. 3321 ].
4305Paris, E. Girod, Successeur de Mme Ve Launer, sans date (vers 1875). In-4 (26,3 cm) (2) feuillets, 220 pages. Reliure de veau vert, dos lisse orné de filets dorés et de la provenance « Union Lyrique » au pied du dos, plats marbrés, tranches jaspées. Reliure frottée au dos, plats et aux extrémités. Cachet de la Société Chorale Union Lyrique du Havre et cachet L. Soucard sur le titre. Bel état intérieur. [ Ve. L. 3378].
1945136503Gloucester: Ford & Branch LTD c1945. Undetermined. fine. 14.25" X 10" 36 X 25.5 cm. Original boardside with black and red text and illustration. Two small holes and string hanger at top. Slight crease to top else is clean and bright. fine Broadside from an English Opera House advertising two plays. A decorative border encases the title at the top and a dark illustration depicting a stage and packed seats is to the top right. The first play Agatha Christie's Ten Little Niggers is to take place on March 26th for one week no perfomance Good Friday and is accompanied by the subtitle "nine victims- and one unknown killer- marooned on a desert island.". The play was first published by Christie in 1939. The book was named after a popular nursery rhyme of the same name. The American edition was "Ten Little Indians". The name was later adapted to the last line of the rhyme "And Then There Were None". "The Happiest Days of Your Life" the second play on the broadside by John Dighton and produced by Leslie Phillips was to take place April 2nd for one week as a special Easter Holiday Attraction. It is described as "A wildly funny farce about a boys' school and a girls' school- on the same premise! The most hilarious evening of your life!". In 1950 the play was turned into a film by Frank Launder. The broadside also provides details of performances and box office. 1945 Ford & Branch, LTD unknown
4319Paris, A. Durand et Fils, Éditeur, sans date (1892 ?). Grand in-8 (27,8 cm) 27 feuillets encadrés en rouge, 268 pages, illustré d’une chromolitho de G. Clairin en frontispice. Reliure demi-chagrin marron, dos à nerfs orné de fleurons et filets dorés, plats et gardes marbrés. Nerfs, coins et coupes légèrement frottés. Très bel état intérieur. [ D. S. et Cie 2186 ].
4323Paris, Au Ménestrel, Heugel & Cie, sans date (vers 1880). In-4 (27,9 cm) (4) feuillets, 287, (1) pages. [SUIVI DE] « Ancien dénouement de l’édition primitive », pages 281 bis à 311 bis et de « Version allemande », pages 282 ter, 282 quater et 283 ter. Reliure demi-chagrin bleu, plats, gardes et tranches marbrés. Nerfs du dos, coins et coupes frottés. Intérieur en très bel état. [ H. 3445 ].
0005913Charles Livingston Bull Frank Schoonover and others. Folio in publisher's embossed "yearbook" cloth with original wrappers bound in. <br/><br/>Includes "Spell of the Ghost" by Henry Thomson Bleiler 2 p. 193 and "Master Minds of Mars" by Carl H. Claudy Bleiler2 p.44 Illustrated but starts here with chapter 5. Illustrations by Charles Livingston Bull Frank Schoonover and others hardcover
