[AWV 16]. La Muette de Portici... Ouverture Réduite pour le Piano avec accompt. de Violon ad libitum Prix: 4f. 50c. [Piano-vocal score]. Daniel-François-Esprit AUBER.

[AWV 16]. La Muette de Portici... Ouverture Réduite pour le Piano avec accompt. de Violon ad libitum Prix: 4f. 50c. [Piano-vocal score].

Paris: E. Troupenas [PN 232 (0-15)], [1828]. Folio. Half contemporary green vellum with dark green paper boards, spine in gilt-ruled compartments, with dark red leather title label gilt. 1f. (title), [1] (blank), 2-12, 9, [i] (blank), 11, [i] (blank), 11, [i] (blank), 17, [i] (blank), 5, [i] (blank), 15, [i] (blank), 11, [i] (blank), 15, [i] (blank), 21, [i] (blank), 5, [i] (blank), 9, [i] (blank), 5, [i] (blank), 7, [i] (blank), 13, [i] (blank), 3, [i] (blank) pp. Engraved. Text in French.

Includes secondary titles, each with thematic index and publisher's handstamp), or each of the 15 numbers: "La Muette de Portici Opéra en 5 Actes Paroles de MM. Scribe & Germain Delavigne... avec Accompagnement de Piano ou Harpe... Catalogue thèmatique des morceaux détachés."

Bookplace with heraldic device and the initials "B-C" to front pastedown. "Duchess of St. Albans Stratton Street" in manuscript in a contemporary hand to upper margin of title. With handstamp"Timbre Royal Seine 3c." to lower corners of several leaves.

Binding quite worn, bumped, and soiled, with some loss to lower outer corner of lower board; spine and lower joint slightly defective. Slightly worn and soiled; blank inner margins of many leaves dampstained, not affecting music; show-through to several leaves.

First Edition of the overture and 15 separate numbers. Schneider AWV, pp. 262-263.

A grand opéra in five acts to a libretto by Eugène Scribe and Germain Delavigne, La Muette de Portici was first performed in Paris at the Opéra on February 29, 1828. The opera was Auber's greatest success, with the duet "Mieux vaut mourir" being particularly popular.

"The history of grand opéra begins with La muette de Portici. The characteristics of the genre include a new degree of magnificence in the sets and sensationally dramatic technical stage effects, the culmination of each act in a large tableau and ingeniously staged crowd scenes. The opera provided new opportunities for the director, librettist, set designer and costume designer to work together, and they made a careful study of the historical background of the Neapolitan revolt. The climax of the final scene with the eruption of Vesuvius was a sensation, and its influence was felt in grand opéra from Meyerbeer and his contemporaries to Wagner’s Götterdämmerung." Herbert Schneider in Grove Music Online.

"An operatic subject of such liveliness had not existed before... Here was a 'grand opera,' a complete tragedy in five acts and all in music. No trace of stiffness, bathos, high-priestly dignity, and all that classical stuff was left; it was burning hot and ravishingly entertaining." Richard Wagner: Reminiscences of Auber (1871). Item #26444

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