Milano: Giovanni Ricordi [PNs 23221-23261], [ca. 1851]. Oblong folio. Dark brown morocco-backed textured brown cloth boards, spine with decorative tooling and titling gilt. 1f. (recto title, verso blank), 1f. (recto table of contetns with plate and page numbers, verso named cast list), 1f. (recto blank, verso p. 2), 3-500 pp. Music engraved. Each number with secondary pagination.
Named cast for a performance in Trieste during Carnival, 1851 includes Cecilia Mansuy, Cesare della Costa, Luigia Bendazzi, Federico Monari, Pietro Vignola, Goi. Petrovich, Francesco Reduzzi, Stefano Arbanassich, Gio. Blasina, Lodovico Graziani, Vincenzo Galli, Mira Miran, and Gustavo Panizza.
Publisher's oval handstamp to lower blank margin of title; vendor's decorative blindstamp to outer margin of front free endpaper; collector's decorative blindstamp to upper outer margin of title.
Binding somewhat worn, rubbed, bumped, and stained. Minor soiling and staining, especialy to lower cornres; margins of some leaves slightly foxed, stained, or creased; leaves trimmed at lower edge, just touching lower portion of publisher's handstamp.
Later edition of the first version of the opera. OCLC no. 16931807.
Les Huguenots, with a libretto by Eugene Scribe and Emile Deschamps, was first performed at the Opéra in Paris on February 29, 1836.
"On hearing the soprano Cornelie Falcon sing the part of Alice in Robert le diable during summer 1832, Meyerbeer resolved that she would take a leading role in his next opera, together with the tenor Adolphe Nourrit and the bass Nicholas Levasseur. The groundwork for Leonore, ou La Saint Barthelemy, as Les Huguenots was initially called, was set out in discussions with Scribe and the Opera director Louis Veron in September 1832. The subject matter was very much in fashion: the period of confrontation between Huguenots (French Protestants) and Catholics in the late 16th century had been the setting for several plays in the late 1820s..."
"... In Les Huguenots Meyerbeer successfully transposed the formula of a highly variegated succession of scenes connected by a well-integrated plot from the good-versus-evil morality play of Robert le diable to a historical setting that prominently features public political turmoil... In its juxtaposition of reverential Protestant victims and fanatical Catholics – both invoking the name of the Lord – the fifth act is a locus classicus for the vivid ironical contrasts characteristic of Meyerbeerian grand opera." Steven Huebner in Grove Music Online. Item #25812
Price: $150.00 other currencies