Paris: Bureau Central de Musique [PN L.E. 1345], . Large octavo. Mid-brown leather-backed marbled boards with dark red leather title label gilt to upper. 1f. (recto title, verso blank), 1f. (recto "Indice," verso blank), 250 pp. Engraved.
With Léon Escudier facsimile signature handstamp to blank outer lower corner of title. Occasional pencilled annotations.
Binding quite worn, rubbed, and bumped; spine split; some foxing and creasing to endpapers. Slightly worn; scattered foxing and soiling; several corners creased; some signatures split.
First complete French edition, second issue. Hopkinson 53A(g) (citing a lithographed copy at the National Library of Scotland).
Rigoletto, to a libretto by Francesco Maria Piave after Victor Hugo’s play Le roi s’amuse, was first performed in Venice at the Teatro La Fenice on March 11, 1851.
"Rigoletto is almost always placed as the true beginning of Verdi’s maturity, the essential dividing line between ‘early’ works and the succession of repertory pieces that will follow... No earlier work is as impeccably paced as Rigoletto, nor does any show its overall consistency of style; and perhaps these matters are best seen as linked not so much to formal matters as to a new sense of musical characterization. With Rigoletto and Gilda in particular, Verdi managed to create musical portraits that function for the most part within the formal norms of Italian opera but that nevertheless manage to develop individually as the drama unfolds. This was as much a technical as an emotional advance; it entailed, that is, a kind of mature acceptance of conventional discourse, as well as an acutely developed perspective on precisely when it could be ignored and when exploited. Though this acceptance was to appear in various guises in the works of Verdi’s maturity, it was something that rarely left the composer during the remainder of his long career." Roger Parker in Grove Music Online. Item #29586
Price: $250.00 other currencies