Autograph letter signed "G. Roger." To the Belgian soprano Désirée Artôt. Gustave ROGER.

Autograph letter signed "G. Roger." To the Belgian soprano Désirée Artôt.

1 page of a bifolium. Octavo. On personal stationery with Roger's embossed initials to upper left margin. In French (with translation).

Roger is worried that he will not be able to perform the ornamentation in the duet from La Cenerentola, mentions a duet from La Dame Blanche, rehearsing with Artot, etc.

"I really fear that I won't have enough time to accustom my voice to all the ornaments that this duet from La Cenerentola requires; I want to do the job well and not compromise your success. Since you were kind enough to look at this duo from La Dame blanche, I believe that it will be more of a novelty... I will be happy to go see you and rehearse our piece."

Slightly worn, browned, and faded; creased at folds; minor remnants of former mount to verso. With identification and date of 1857 in another, contemporary, hand to upper margin.

Together with a half-length portrait engraving of the composer in formal dress, image size ca. 115 x 110 mm., sheet size 232 x 180 mm. Slightly worn; browned at edges from former mat; remnants of former mount to verso.

Roger was a noted French tenor. "In 1838 he made his début as Georges in Halévy’s L’éclair at the Opéra-Comique, where he subsequently created a number of roles written for him by Halévy, Auber and Thomas. His success rested on his considerable intelligence, fine bearing and pure tone. In 1846 he sang Faust in the first performance of Berlioz’s La damnation de Faust, and in 1848 he moved from the Opéra-Comique to the Opéra, where, in 1849, he created the role of Jean de Leyde in Meyerbeer’s Le prophète. Although his voice was too light for such parts, he had enormous success and continued to sing a number of leading tenor roles at the Opéra. He successfully toured Germany on several occasions. His most celebrated partners were Jenny Lind and Pauline Viardot, and he enjoyed the friendship of Berlioz, Meyerbeer and many literary figures. In 1859 he sang in Félicien David’s Herculanum at the Opéra, but shortly afterwards he lost his right arm in a shooting accident. For some years he continued to appear on stage with a mechanical arm, at the Opéra-Comique and in the provinces, and from 1868 until his death he was a professor of singing at the Conservatoire." Hugh Macdonald in Grove Music Online.

Artôt, a Belgian mezzo-soprano and later soprano, was a pupil of Pauline Viardot. "In 1859 she sang in Italy, and at the end of the year in Berlin, with Lorini’s Italian company at the opening of the Victoria-Theater, where she won great acclaim as Rosina, Angelina (La Cenerentola), Leonora (Il trovatore) and even as Maddalena (Rigoletto). Thereafter the greater part of her career was spent in Germany, both in Italian and German opera." Harold Rosenthal in Grove Music Online. Item #31220

Price: $285.00  other currencies

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