3 pp. of a bifolium. Octavo. In black ink. On stationery with the red and blue logo of the Compagnie Générale Transatlantique and the text "A Bord de 'Rochambeau' " printed at head. In French (with translation).
An illness prevented Maurel from visiting Berly while on vacation in Paris. As soon as he had sufficiently recovered, an urgent cable called him back to New York. He asks Berly to greet a certain Miss de Witt on his behalf, and includes his New York address in case Berly needs anything. He promises to make up for lost time when he returns.
"... Circumstances did not permit me to receive you and I regret it more than I can say to you in words. It would have been a real joy to renew last year's interesting conversations, to talk about this divine music of which you certainly are the devoted champion in France... "
Slightly worn and soiled; creased at folds.
Maurel sang regularly at the Paris Opéra and La Scala; he also appeared at Covent Garden and at the Metropolitan Opera in New York, including in the American premiere of Aida. "At La Scala he sang the title role in the revised version of Simon Boccanegra (1881); his performance led Verdi to chose him to create Iago (1887) and Falstaff (1893)... Maurel was outstanding not so much for the timbre or resonance of his voice as for his perfect breath control and skill as an actor. (He appeared on the dramatic stage for a brief period in the early 1900s.) In addition to his career as a performer, he was co-director of the Théâtre Italien, Paris (1883–5)... For a time he had an opera studio in London, and from 1909 until his death he taught in New York. He wrote a number of books on singing and opera staging." Harold Rosenthal and Karen Henson in Grove Music Online. Item #24158
Price: $200.00 other currencies