Napoli: Successori della Ditta Girard e Co. [PNs 3616-31, 3872-3, 4292-4], . Oblong folio. Vellum-backed and edged boards with burgundy 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 blank), 8 pp. (Sinfonia), 3-150 pp. Each number with separate caption title and pagination. Engraved.
Endpapers watermarked with a fleur-de-lis. 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.
From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981).
Binding slightly worn, bumped, and scuffed. Light browning to title; minimal foxing throughout, primarily confined to margins.
First Edition of the revised version, later issue. Inzaghi IN. 61, pp. 180-2. The first edition of Roberto Devereux was revised by Girard with the changes Donizetti made for the 1838 performance in Paris (PNs 4292-4). This later issue has "Successori della Ditta" added to the title, indicating that it was issued shortly after Girard's imprint changed in 1853.
Roberto Devereux, to a libretto by Salvadore Cammarano after François Ancelot’s tragedy Élisabeth d’Angleterre (1829), was first performed in Naples at the Teatro S Carlo on October 28, 1837.
"The portrait of Queen Elizabeth I in Roberto Devereux is the most imposing of Donizetti’s representations of that character (who also appears in Elisabetta al castello di Kenilworth and Maria Stuarda), and the role must rank as one of the great acting and singing opportunities in the bel canto repertory. Musically, the score has much to commend it. As in other Donizetti operas, the first act moves in a rather leisurely manner, with a sequence of full arie di sortita; the pace accelerates to a dramatic climax in a briefer Act 2; then Act 3, like that of Lucia, is a sequence of three powerful scenes."
"Particularly impressive are Elizabeth’s entrance aria, the duet for Sarah and Essex, the trio-finale to Act 2, the Prison Scene of Essex, and Elizabeth’s aria-finale. Everywhere the score shows the sure hand of a composer in control of his materials. The powerful prelude to the Prison Scene recalls the opening of Act 2 of Fidelio. Elizabeth’s final Larghetto, ‘Vivi, ingrato’, is a fine example of a melody developing in a long emotional arc of searing poignancy, and of Donizetti’s sensitive response to the expressive colour of the words." 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. Item #31257
Price: $450.00 other currencies