Milano: Tito di Gio. Ricordi [PNs 25092-25109; 25121], . Oblong folio. Contemporary mid-brown calf-backed marbled boards, black morocco title label gilt to spine. 1f. (recto title with vignette of Violetta's death by Ratti, verso blank), 1f. (recto table of contents with plate and page numbers, verso (named cast list), 5-246 pp. Each number with its own price, imprint, and secondary pagination. Music engraved.
Named cast includes Salvini-Donatelli, Speranza Giuseppini, Carlotta Berinni, Lodovico Graziani, Felice Varesi, Angelo Zuliani, Francesco Dragone, Arnaldo Silvestri, Andrea Bellini, G. Borsato, G. Tona, and Antonio Manzini.
Publisher's handstamp to lower margin of initial leaves. "Gabinetto Musicale di Gaetano Zani Bologna" handstamped to title, table of contents, and p. 5. Contemporary signature ("Radice di Colombo") to upper outer corner of front free endpaper.
Performance markings including occasional accidentals, notation, and embellishments in both pencil and ink in both contemporary and modern hands.
Binding worn, rubbed, and bumped; split at upper hinge. Minor foxing and soiling; lower margins of many leaves with tears with some loss, occasionally affecting music; first bifolium detached.
First Edition of the second version of the opera. Hopkinson 55B. Chusid p. 157.
La Traviata, to a libretto by Francesco Maria Piave after Alexandre Dumas's play La dame aux camélias, was first performed in Venice at the Teatro La Fenice on March 6, 1853.
"It is... easy to see why La traviata is among the best loved of Verdi’s operas, perhaps even the best loved. In many senses it is the composer’s most ‘realistic’ drama. The cultural ambience of the subject matter and the musical expression are very closely related: no suspension of disbelief is required to feel that the waltz tunes that saturate the score are naturally born out of the Parisian setting. And, perhaps most important, this sense of ‘authenticity’ extends to the heroine, a character whose psychological progress through the opera is mirrored by her changing vocal character: from the exuberant ornamentation of Act 1, to the passionate declamation of Act 2, to the final, well-nigh ethereal qualities she shows in Act 3. Violetta – Stiffelio, Rigoletto and Gilda notwithstanding – is Verdi’s most complete musical personality to date." Roger Parker in Grove Music Online.
An interesting performance copy, despite condition faults. Item #25957
Price: $2,250.00 other currencies