Milano - Roma - Napoli - Palermo: G. Ricordi & Co. [PN 109806], [May 1912].
Large octavo. Full brown cloth with titling gilt to spine. 1f. (recto title, verso printer's device), 1f. (recto named cast list, verso contents), 349, [i] (blank) pp. Interleaved with blanks.
Named cast includes Graziani, Gardoni, Miolan-Carvalho, Tagliafico, Neri-Baraldi, Didiée, and Marai.
With "Stage copy" in pencil and performance annotations to free front endpapers and to blank leaves. Annotations in German within score in blue and lead pencil and ink; blocking diagrams, etc. in coloured pencil to numerous interleaved pages.
Binding very slightly rubbed. Browning throughout; small circular publisher's handstamp to first seven leaves; prices changed in black ink to title; date annotation to cast list; pp. 199-202 detached; tear to upper margin of pp. 327-330; several tabs to outer edges.
An interesting German staging copy used for an undated production, most likely in the early part of the 20th century.
Dinorah (also known as Le pardon de Ploërmel), to a libretto by J. Barbier and M. Carré after Carré's play Les chercheurs du trésor, was first performed in Paris at the Opéra Comique (Favart) on April 4, 1859.
"The work, originally called Le pardon de Ploërmel, was planned as a one-act opéra comique and enlarged to three acts at Meyerbeer’s request. The composer converted the original spoken dialogue into recitatives for performances in other countries, where the opera often became known as Dinorah. The most famous number is the heroine’s coloratura waltz aria in Act 2, ‘Ombre légère qui suis mes pas’, during which she dances with her own shadow... The overture is innovatory in that it features participation of the chorus, a prayer to the Virgin sung behind the curtain that alternates with procession and storm music in the pit." Steven Huebner in Grove Music Online
Meyerbeer was "the most frequently performed opera composer during the 19th century, linking Mozart and Wagner.
Price: $165.00 other currencies