Napoli: B. Girard e Cie. [Cali] [PNs 126-142; 153], [ca. 1851]. Oblong folio. Full contemporary teal blue cloth boards with titling and the name of an early owner gilt to upper. 1f. (title), 3-218 pp. Each piece with its own plate number and secondary pagination. Title pages of most pieces with their own price, names of singers, and imprint (Napoli, Dionigi Cali, Str[a]da S. Mattia No. 6; and/or Giuseppe Luzi, Largo Castello No. 93). Engraved.
Binding somewhat worn, bumped, and dampstained; gilt faded. Some internal wear; light foxing and soiling, heavier to pp. 132-133; margins of some pages very lightly dampstained or with small tears, loss, and repairs.
An unrecorded variant of Hopkinson 40B(l). Scarce. C.f. Hopkinson 40B(g)-40B(k), pp. 19-20. C.f. OCLC nos. 16841350 (2 copies, at the Morgan Library and Wellesley College). Although the title conforms to that of a Girard edition of ca. 1849 (Hopkinson 40B(g)), the plate numbers and imprints on the music are those of a later edition published by Cali (according to Sartori, Cali worked with Girard.) To complicate matters further, a contemporary edition by Orlando (Hopkinson 40B(h), also ca. 1850-1851) bears identical plate numbers.
I Lombardi, to a libretto by Temistocle Solera after Tommaso Grossi's poem I Lombardi alla prima crociata, was first performed in Milan at the Teatro alla Scala on February 11, 1843.
"As with Verdi’s previous opera, Nabucco, there seems to be hardly any surviving information about the genesis of I Lombardi. No records exist of negotiations with La Scala, although popular rumour has it that, after the huge success of Nabucco, Merelli (the impresario there) left to the composer’s discretion the fee for the new opera, and that Verdi took advice on a proper sum from his future wife, Giuseppina Strepponi. Nor is there any surviving correspondence between Verdi and his librettist, Temistocle Solera. They were both in Milan during the period of composition (presumably the second half of 1842) and, if we are to trust Verdi’s later recollections, he altered very little of Solera’s initial draft. The opera was apparently frowned upon by the religious censors in Milan but eventually escaped with only a few unimportant changes. The first night was a wild public success, with a cast that included Giovanni Severi (Arvino), Prosper Dérivis (Pagano), Carlo Guasco (Oronte) and Erminia Frezzolini (Giselda). For a revival in Senigallia in July 1843, Verdi composed a new cabaletta in Act 2 for Antonio Poggi (as Oronte). His revised, French version of the opera was given as Jérusalem in Paris in 1847." Roger Parker in Grove Music Online. Item #25953
Price: $450.00 other currencies