Milano: Giovanni Ricordi [PNs 22191-22214], . Oblong folio. Half contemporary dark blue leather with dark brown textured cloth boards, spine in compartments gilt, titling gilt, yellow endpapers. 1f. (recto title with large illustration by Focosi of the final scene of the opera lithographed by H. Corbetta, verso blank, 1f. (recto table of contents with plate numbers and page numbers, verso named cast list), 5-259, [i] (blank) pp. Each piece with its own imprint, price, plate number, and secondary pagination. Music engraved.
Named cast includes Selva, Malvezzi, Salandri, Arati, De Bassini, Gazzaniga, Salvetti, and Rossi.
Binding slightly worn and rubbed; corners abraided; slightly shaken; endpapers creased. Scattered light foxing. several corners slightly creased. An attractive copy overall.
First Edition, second issue. Hopkinson 51 A(b). Chusid p. 106. The only difference between the first and second issues is the fact that the title is coloured in the first issue; Hopkinson locates only two copies of this coloured issue.
Luisa Miller, to a libretto by Salvadore Cammarano after Friedrich von Schiller's play Kabale und Liebe, was first performed in Naples at the Teatro S Carlo on December 8, 1849.
"For that perceptive early critic of Verdi, Abramo Basevi, Luisa Miller marks the beginning of Verdi’s ‘second manner’, one in which he drew more on Donizetti’s example and less on Rossini’s, and in which his musical dramaturgy took on a more subtle and varied form. Modern commentators have sometimes endorsed this judgment, signalling the opera as an important step towards Rigoletto. However, while the rustic ambience of the opera undoubtedly called forth from Verdi a new and compelling attention to local colour, it is difficult to see in the formal aspect of Luisa an essential stylistic turning-point, particularly when compared with Macbeth, which had appeared two years earlier. Nevertheless, few would argue about the opera’s important position among pre- Rigoletto operas: not so much for its formal experiments as for its control of conventional musical forms, especially the grand duet. And in this respect, the middle-period work Luisa most resembles is not Rigoletto but Il trovatore, whose driving energy within conventional contexts is apparent through much of the earlier opera, in particular in its final act." Roger Parker in Grove Music Online. Item #25962
Price: $2,500.00 other currencies