Original ticket, signed by Catalani, to the noted Italian soprano's "Extra Night" performance at the King's Theatre in London on July 9, 1812, most likely as Susanna in Mozart's Le nozze di Figaro, a few weeks after performing the same role in the first London performance of the opera on June 18, 1812. Wolfgang Amadeus MOZART, Angelica Catalani.

Original ticket, signed by Catalani, to the noted Italian soprano's "Extra Night" performance at the King's Theatre in London on July 9, 1812, most likely as Susanna in Mozart's Le nozze di Figaro, a few weeks after performing the same role in the first London performance of the opera on June 18, 1812.

"Madme Catalani's Extra Night, Thursday, July 9, 1812, Box, No. [95]." Printed in mid-blue ink with logo of the Kings's Theatre at head. 71 x 112 mm. Signed "Ang. Catalani" at right margin.

Slightly worn and browned; verso with narrow strip of paper tape to right margin and minor remnants of paper label.

Together with a bust-length lithographic portrait of the singer with printed identification to lower margin. Browned; signs of wear and minor staining to edges; slightly trimmed.

Catalani was already extremely popular when she came to England in 1806, ruling the London stage for the next seven years.

"Such was now the taste for the music of Mozart, that in the following season (1812) Catalani herself was constrained to give way to it. She appeared in two of his operas; as Vitellia in La Clemenza di Tito, and as Susanna in Le Nozze di Figaro; and personated, with equal felicity, the arch and lively waiting-woman, and the lofty and impassioned patrician dame of ancient Rome. She sang the music exquisitely; and neither character, probably, has ever had so charming a representative." Hogarth: Memoirs of the Musical Drama, Vol. II, p. 375.

"An opera, combining such variety of excellence as Figaro, requires a proportionate combination of musical talent in those who are to execute it... The vivacity of [Madame Catalani]... comes into full play in the character of the chambermaid Susannah, and there is something very pleasing in the archness of her manner, and the eager interest with which she enters into all the schemes that are to extricate her mistress and herself from the dilemmas in which they are constantly involved..." Smith: The Italian Opera and Contemporary Ballet in London 1789-1820, p. 117. Item #31209

Price: $425.00  other currencies

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