2 pp. of a bifolium. Small octavo. No place, no date ("Vendredi"). On personal letterhead, with "C.D." beneath a small floral motif embossed at upper left. In French (with translation).
Cinti-Damoreau promises to reserve a box for her correspondent at Sunday's concert by [?]Schwartzaïffer, hopes to see her soon, and sends best wishes.
"I am an artist, so I take the liberty of reserving a box for you for the concert this Sunday... You'll see when you look at the program that he is worthy of your acquaintance..."
From the collection of Marilyn Horne (b. 1934).
Cinti-Damoreau "created the principal soprano roles in Rossini’s Le siege de Corinthe (Pamyre, 1826), Moïse (Anaïs, 1827), Le comte Ory (Countess Adèle, 1827) and Guillaume Tell (Mathilde, 1829), as well as Elvire in Auber’s La muette de Portici (1829) and Isabelle in Meyerbeer’s Robert le diable (1831). Although she was the [Paris] Opéra’s most highly paid singer, she accepted a more attractive offer from the Opéra-Comique, where from 1836 to 1841 she appeared in a succession of new operas by Auber. In 1844 she toured America with the violinist Alexandre Artôt, and continued to sing in concerts until 1848. She taught singing at the Paris Conservatoire (1833–56) and published a Méthode de chant (1849), other singing manuals and some songs. Her voice, outstanding for its purity of tone and intonation, was likened to a perfect piano, and her ornamentation was stylish and varied." Philip E.J. Robinson in Grove Music Online.
A distinguished American mezzo-soprano, "Horne had a voice of extraordinary range, rich and tangy in timbre, with a stentorian chest register and an exciting top... In concert she once achieved the feat of singing in a single programme Rossini arias and Brünnhilde’s Immolation Scene, proof of her exceptional versatility. Throughout her lengthy career she was an admired recitalist, singing lieder, mélodies, Spanish and American songs with equal aplomb." Alan Blyth in Grove Music Online.
Price: $160.00 other currencies