[Napoli]: Stabilimento Musicale Partenopeo [PNs 6056-6060, 6063, 6065, 6133, 6136-6141, 6402, 6492, 6535, 6652, 6659-6660, 6721-6724, 6727-6730], [1853?].
Oblong folio. Vellum-backed and edged boards with dark brown cloth laid down, initials "C.G." gilt to upper, titling to spine stamped in black, original yellow publisher's printed wrappers bound in. 1f. (recto title, verso named cast list, table of contents), 3-158 pp. Each number with separate caption title and secondary pagination. Engraved.
Endpapers watermarked with a fleur-de-lis and "Michele Dupino Marmorato." With priced catalog, "Opere Teatrali Intere," to upper wrapper listing works by Bellini, Donizetti, Rossini, Verdi, et al. composed through 1853 and with list of pieces with individual prices and plate numbers to title. Named cast list includes the performers from the premieres in Vienna, Paris, and Naples, including: Eugenia Tadolini, Giorgio Ronconi, Carlo Guasco, Lorenzo Salvi, Giulia Grisi, Marietta Brambilla, Gaetano Fraschini, and Filippo Coletti.
Piano reduction of the Sinfonia by Czerny "nello stile elegante."
From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981).
Binding slightly worn and with minor defects. Minimal foxing throughout, primarily confined to margins.
An early edition, later issue. Inzaghi IN. 76, pp. 196-7.
Girard's first edition of Maria di Rohan appeared circa 1844, but this issue contains a new title page with Girard's later imprint Stabilimento Musicale Partenopeo.
Maria di Rohan was composed to a libretto by Salvadore Cammarano after Lockroy and Badon’s play Un duel sous le Cardinal de Richelieu (1832). It premiered at the Kärntnertortheater in Vienna on June 5, 1843.
"The most tautly constructed of Donizetti’s romantic melodrammi, Maria di Rohan shows clear signs, particularly in Act 3, that Donizetti was moving towards the effect of unbroken musical continuity, abandoning the closed patterns of conventional ‘number’ opera. Even in Act 1, the usual succession of ‘entrance’ arias is given new force and dynamism by Donizetti’s tendency to reduce the fixed forms to their minimum, and to inject vivid musical characterization. It is a work that calls for accomplished singers who are also powerful actors, particularly for the baritone role of Chevreuse. Chorley described the powerful effect produced by Giorgio Ronconi in this part.
Maria di Rohan contains some of Donizetti’s most expressive music. The soprano’s first-act aria, ‘Cupa, fatal mestizia’, suggests Un ballo in maschera. The tenor’s aria at the beginning of Act 2, ‘Alma soave e cara’, is one of a number of fine single-movement tenor arias from the final years of Donizetti’s output that reveal how effectively he wrote for this range of voice. The baritone’s scene in Act 3, ‘Bella e di sol vestita’, has been eloquently recorded by Mattia Battistini." William Ashbrook in Grove Music Online.
Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni (1831-1918), whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia, where he taught (amongst many others) Sesto Bruscantini, Anna Moffo, Rosalind Elias, Ezio Flagello, Peter Lindroos, and Martti Wallén.
Price: $275.00 other currencies