3 pp. of a bifolium. Octavo. Dated New York, October 25, 71. In black ink on patterned paper.
Along with more mundane matters, Cary rather unfavorably mentions several of her performance engagements in New York with noted singers, including Christine Nilsson (1843-1921) and Victor Capoul (1839-1924).
"We were to have sung Faust to-night but Nilsson is hoarse – so the Barbiere is substituted. Won't the people be indignant to have paid their money to hear such a poor performance. For with the exception of Duval and Capoul it is abominable – – I sing 'La Favorita' in Brooklyn to-morrow, and I hope Brignoli and the Baritone will know their parts better than in Boston."
Slightly worn and soiled; creased at folds with short split to lower margin of second leaf; separated at central fold; remnants of mounting tape to verso of second leaf with sender's name and letter date in black ink in a contemporary hand to verso.
Annie Louise Cary was an American contralto, who was "immensely popular in opera, oratorio and concert in Europe and the USA. She performed at the first Cincinnati May Festival (1873) and sang Amneris in the American première of Aida in New York (26 November 1873). One of the first internationally known American singers, she spent 1875–7 in Russia. In 1877 she returned to the USA, where she toured with Maria Rozé and Clara Kellogg; she also sang with the Mapleson Company (1879–81) and in many festivals with the Thomas Orchestra. The first American woman to sing a Wagner role (Ortrud) in the USA, she also participated in the American premières of Verdi’s Requiem (New York, 1874) and Bach’s Magnificat (1875, Cincinnati) and Christmas Oratorio (1877, Boston). She retired at the height of her popularity after marrying in June 1882. Cary’s voice was strong and rich, with a range of over three octaves; she knew 40 operatic and oratorio roles." Dee Baily and Katherine K. Preston in Grove Music Online. Item #23607
Price: $250.00 other currencies