Paris: Castil-Blaze [PNs C.B., C.B. 20., C.B. 20.1–20.19, C.B. 20.13.T., C.B. 20-I7 ※, C.B.20.13. ※, C.B.20.19. ※, . Folio. Half mid-tan calf with marbled boards, dark red leather title label gilt to upper. 1f. (title), 1f. (thematic index), 1-7 (ouverture), 163 (opera), [i] (blank) pp. Engraved.
With the name of the opera, title of the number, price, and names of composer, librettist, and singer for the Parisian premiere printed at the head of each number; each number with its own additional pagination. With a note in French printed to the foot of No. 13bis: "This Rossini duo had been inserted in the third act of Robin des Bois."
Contains several nineteenth and early twentieth-century annotations (in pencil and black ink), including the (partially illegible) names and city (Boston) of (presumably) former owners, English text overlay, and various performance markings.
Binding slightly worn, rubbed and bumped; upper detached. Slightly worn; moderately foxed; occasional stains; sewing holes to inner margins; sveral leaves partially detached; title lined with contemporary paper; thematic index reinforced at inner margin; pp. 109-112 bound after p. 113.
First Edition of Castil-Blaze's (in)famous French adaptation of Der Freischütz, which was (in spite of Castel-Blaze's re-working of the music and text) the first publication of Weber's complete opera in French. Relatively scarce. Mark Everist, Music Drama at the Paris Odéon, 1824-1828, pp. 255-267.
First performed in Paris at the Théâtre Royal de l'Odeon on December 7, 1824, Robin des Bois was a massive financial success.
Castil-Blaze’s (1784-1857) "principal activity, other than writing criticism, was the importation of foreign music then under-represented in France. To this end, he made (sometimes very free) arrangements and adaptations of the works of a number of Italian and German composers, either to introduce them onto the French stage for the first time under the names of their composers, or for pastiches... Paris premières tended to be at the Théâtre de l’Odéon). Notable in the former category were Rossini’s Otello, and Weber’s Der Freischütz (as Robin des bois), Euryanthe and Oberon (as Huon de Bordeaux); of the Weber translations only Robin des bois proved popular... While many of the arrangements (or ‘castilblazades’ as they were known) have since been held in contempt (and were at the time: Berlioz spoke of Castil-Blaze’s approach as ‘the care of a veterinary surgeon’), their author nursed a certain pride in them, challenging his critics to separate his additions from the originals... Certainly, his immensely influential role in the reception of Italian and German opera in France... after 1820 should not be ignored." Cormac Newark in Grove online. Item #24915
Price: $275.00 other currencies