Leipzig: Breitkopf & Härtel [PN 5720 (0-21)], .
2 volumes. Folio. Mid-brown cloth-backed dark brown textured paper boards, spine with titling and decorative tooling gilt, "C.R.T. 1859" gilt to foot. Title lithographed by Fr. Krätschmer in Leipzig. Music engraved. Text in German and French.
Volume 1: 1f. (recto blank, verso fine bust-length lithographic frontispiece portrait of Meyerbeer by G. Artzt after Maurin printed by R. Weber in Leipzig), 1f. (recto title, verso blank), [1f. (recto part title, verso cast list and table of contents), 1f. (recto table of contents continued, verso blank), 211, [i] (blank) pp. Publisher's handstamp to lower margin of title.
Volume 2: 1f. (recto title, verso blank), 1f. (recto part title, verso cast list and table of contents), 1f. (recto table of contents continued, verso blank), 1f. (recto blank, verso p. 212), 213-466 pp.
Binding somewhat worn, rubbed, and bumped. Outer margins of many leaves slightly soiled; occasional light staining; frontispiece and title of Vol. I slightly browned and foxed; some leaves of Vol. 2 very lightly dampstained at outer margins. An attractive copy overall.
First German Edition of the first version of the opera. OCLC nos. 165316269 (Vol. 2), 25346980.
Les Huguenots, with a libretto by Eugene Scribe and Emile Deschamps, was first performed in Paris at the Opéra 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.
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