Otello Dramma Lirico in Quattro Atti versi di Arrigo Boito... Riduzioni di Michele Saladino Canto e Pianoforte (A) netti Fr. 20. Pianoforte Solo (A) netti Fr. 12. Giuseppe VERDI.
Otello Dramma Lirico in Quattro Atti versi di Arrigo Boito... Riduzioni di Michele Saladino Canto e Pianoforte (A) netti Fr. 20. Pianoforte Solo (A) netti Fr. 12.

Otello Dramma Lirico in Quattro Atti versi di Arrigo Boito... Riduzioni di Michele Saladino Canto e Pianoforte (A) netti Fr. 20. Pianoforte Solo (A) netti Fr. 12.

Milano: Tito di Gio. Ricordi [PN 51023], [1887]. Quarto. Original publisher's full purple cloth with decorative stamping and titling gilt, decorative endpapers. 1f. (recto half-title, verso blank), 1f. (recto title, verso publisher's statement and device], 1f. (recto named cast list, verso blank), 1f. (recto index, verso blank), 364 pp. Title, cast list and index leaves printed in black and red inks. Preserved in a custom-made olive green cloth slipcase edged in dark red morocco.

Cast includes Tamagno as Otello, Maurel as Iago, Paroli as Cassio, Fornari as Roderigo, Navarrini as Lodovico, Limonta as Montano, Lagomarsino as the Herald, Pantaleoni as Desdemona, and Petrovich as Emilia.

With publisher's small oval corner blindstamp dated "1 (January) 1887" to lower inner corner of first several leaves. Facsimile signature handstamp of former owner to lower portion of title.

Binding slightly worn; faded at spine and edges. Browned; occasional minor foxing; some leaves slightly creased at lower outer corner.

First Edition, earliest issue, preceding Hopkinson's 63A "first issue." The main differences between the present issue and Hopkinson's first issue is the absence of reference to the date of first performance on the title and the presence of St. Petersburg agent "M. Bernard" instead of "E. Mellier to the foot of the title." Crawford p. 604.

Otello, to a libretto by Arrigo Boito after William Shakespeare’s play Othello, or The Moor of Venice, was first performed in Milan ad the Teatro alla Scala on February 5, 1887.

"That Otello, give the composer's age and eminence, should be hailed by the majority as the greatest Italian opera of its day as well as the composer's crowning achievement could be taken for granted. Has time upheld these judgements? The first of them, most certainly. Indeed no opera of the 1880s comes within leagues of it except for Parsifal. While the 'veristic' melodramas, Tosca and Madama Butterfly included, which shocked and thrilled the Europe of the fin du siècle, are still very much of their period, Otello remains as fresh, as challenging, as essentially modern as the day it was written. To detractors of Italian opera it remains, together with Falstaff and The Requiem, the composer's passport to immortality. Indeed, many have come to a full understanding of Verdi's genius by starting from Otello..." Budden: The Operas of Verdi, p. 412. Item #28128

Price: $4,000.00  other currencies

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