Milano: Tito di Gio. Ricordi [PNs 31031-31059], . Large oblong folio. Full modern ivory linen boards with red simulated title label gilt to spine, decorative endpapers. 1f. (recto title within decorative sepia borders, verso blank), 1f. (recto table of contents with plate and page numbers, verso named cast list), 5-323, [i] (blank) pp. Each number with its own plate number, price, imprint, and secondary pagination. Title, table of contents, and cast list typeset. Music engraved.
Blindstamp of Tito Ricordi ("T.R."), dated 61 to lower outer corner of title.
With a polychrome illustration of the final scene of the opera from a later Ricordi edition laid down to upper board (?fragmentary wrapper) and another illustration of the final scene of the opera by Focosi lithographed by Fr. Tersaghi from the first complete Ricordi edition laid down to lower board.
Some, mostly light, dampstaining to margins; some minor foxing, light soiling and creasing; somewhat crude tape repair to blank upper margins of pp. 259-260; small tear to lower blank margins of pp. 297-298; final leaf reinforced, with a small perforation and crude tape repair, slightly affecting music. Quite a good copy overall.
First complete edition. Hopkinson 59A(a). Chusid p. 31. Catalogo Ricordi online. OCLC no. 9061941. Crawford p. 574.
Un ballo in maschera, to a libretto by Antonio Somma after Eugène Scribe's libretto Gustave III, ou Le bal masqué, was first performed in Rome at the Teatro Apollo on February 17, 1859.
"Un ballo in maschera, as many have remarked, is a masterpiece of variety, of the blending of stylistic elements. Verdi’s experiment with a ‘pure’ version of French grand opera in the mid-1850s, Les vêpres siciliennes, was not entirely happy; here we see him instead gesturing to the lighter side of French opera, primarily with the character of Oscar, but also in aspects of Riccardo’s musical personality. The juxtaposition of this style with the intense, interior version of Italian serious opera that Verdi had preferred in the early 1850s is extremely bold, particularly in sections such as Act 1 scene ii (where Riccardo confronts Ulrica) or in the finale to Act 2 (the so-called laughing chorus), in both of which the two styles meet head on with little mediation. One of the reasons why the blend is so successful is that Verdi’s treatment of the traditional forms at the backbone of his ‘Italian’ manner were themselves changing, adapting towards the more elliptical manner of French models. Ballo is notable for the shortness and intensity of its principal arias, for the absence of grand design." Roger Parker in Grove Music Online. Item #25946
Price: $3,600.00 other currencies