[AWV 30]. Le Domino Noir Opéra Comique en trois Actes Paroles de M. E. Scribe... avec Accompagnement de Piano Par H. Potier. Prix net: 30 f. A.L. [Piano-vocal score]. Daniel-François-Esprit AUBER.

[AWV 30]. Le Domino Noir Opéra Comique en trois Actes Paroles de M. E. Scribe... avec Accompagnement de Piano Par H. Potier. Prix net: 30 f. A.L. [Piano-vocal score].

Paris: E. Troupenas [PNs T. 547.; T. 547 (1); T. 547 (3); T. 547 4; E.T. et Cie. 547. 12; T. 547. 16], [ca. 1837-1838]. Folio. Quarter dark red morocco with dark red leatherette boards, upper with early owner's name ("Mlle. Annie Morrow") gilt, spine in decorative compartments gilt, titling gilt, marbled endpapers. 1f. (title), 1f. (cast list and table of contents), [1] (blank), 2-179, [i] (blank) pp. Engraved.

With the handstamp of Troupenas's successor, "Brandus et C[ie.]," to lower blank margin of title. Title within decorative border within which is printed "Répertoire Des Opéras Français" together with the surnames of noted opera composers. Engraved and printed by Marquerie, Frères. Some pages with double pagination.

Binding slightly worn, rubbed, and bumped; partially split at joints; upper with occasional, light staining. Some soiling to margins; occasional show-through; impression occasionally light.

First Edition. Scarce. Schneider p. 912. Lesure pp. 77, 418, 420. OCLC 19800506, 497380377, 863529263. This copy conforms to Schneider's description in all respects but number of pages (179 vs. 175 pp.), but OCLC copies of this issue contain 179 pp. According to Lesure this issue was probably published in 1837-1838.

An opéra comique in three acts to a libretto by Eugène Scribe, Le Domino Noir was first performed in Paris at the Opéra-Comique (Salle Bourse) on December 2, 1837. It "was Auber’s most successful opéra comique in Paris, with over 1200 performances by 1909. The many surprising twists in its plot, a notable feature of opéra comique, also made it popular in Germany and England (the London première was on 18 January 1838), and it was translated into most European languages. Auber’s music not only brings out the humour and wit of the libretto’s couplets and features many dance rhythms, but also displays depths of expression, as in the minor-key section of the overture, in Massarena’s ‘Amour, viens finir mon supplice’, and in Angèle’s ‘Le trouble et la frayeur’ and its interpolated bolero, ‘Flamme vengeresse’. Auber proved himself a shrewd dramatist in his use of parlando over an independent instrumental theme and in his choice of motifs to suit various situations. He imported a discreet Spanish flavour with two boleros and the popular aragonese, ‘La belle Inès fait florès’. Angèle’s bolero became a worldwide success as ‘La gitana’ or ‘El jaleo de Jeres’." Herbert Scheider in Grove Music Online. Item #25582

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