Autograph letter signed "Bordogni" to the Director (most probably of the Théâtre de la Renaissance in Paris)

2 pp. of a bifolium. Octavo. Undated [?Paris]. In black ink. In French (with translation).

Bordogni acknowledges an offer from the "Director":

"I have received with as much gratitude as satisfaction the offer you were willing to make me of my 'personal entries' (i.e. individual ticket receipts?) at the Théâtre de la Renaissance. I hope I can often profit from your friendly permission and I pray that you are suitably convinced by all the resolutions I make for the prosperity of a theatre that interests friends of the musical arts to such a high degree."

Slightly worn; creased at folds; minor staining not affecting text; annotation in black ink in another hand erased to lower edge of third blank page.

Bordogni, an Italian tenor, "studied with Simone Mayr in Bergamo and made his début in 1813 at the Teatro Re, Milan, as Argirio (Tancredi), a role he also sang at La Scala (1817) and other theatres. Engaged at the Théâtre Italien, he sang in the Paris premières of Paer’s Agnese (1819), Mercadante’s Elisa e Claudio (1823) and of ten Rossini operas: L’inganno felice (1819); Otello and La gazza ladra (1821); Elisabetta, regina d’Inghilterra, La Cenerentola and Mosè in Egitto (1822); Ricciardo e Zoraide and La donna del Lago (1824); Semiramide and Zelmira (1826). He created the role of Libenskof in Il viaggio a Reims (1825). He retired in 1833 and taught singing in Paris; his pupils included Henriette Sontag, Giovanni Mario and Laure Cinti-Damoreau. His voice was small, though perfectly placed, while he sang with great elegance and style though his acting ability was restricted. He published a singing method and several collections of exercises." Elizabeth Forbes in Grove Music Online. Item #23711

Price: $200.00  other currencies

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