Milano: F. Lucca [PNs 13160-13191], [ca. 1845]. Large folio. Ivory vellum-backed marbled boards with cut paper label with "62 N" to upper, titling and shelf mark in black ink to spine. 1f. (recto title, verso blank), 1f. (recto named cast list, verso table of contents with page and plate numbers), 5-444 pp. Engraved. Each number with separate pagination. Title includes a list of individual pieces with plate numbers and prices.
Named cast includes Dorus Gras, Serda, Falcon, Derivis, Dupont, Massol, Prevost ainé, Ferd. prevost, Wartel, A. Nourrit, Levasseur, and Flecheur.
With the handstamp of Francesco Brogi in Siena to lower margin of front free endpaper and his blindstamp to upper outer corner of title. Signed and dated Siena, April 21, 1931 in ink to blank upper margin of cast list.
Binding slightly worn, rubbed, bumped, and stained. Minor to moderate foxing; some minor creasing; occasional annotations in pencil.
Possible First Italian Edition of the first version of the opera. OCLC no. 637661789.
Les Huguenots, to a libretto by Eugène Scribe and Emile Deschamps, was first performed at the Paris 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. Item #25843
Price: $200.00 other currencies