Lucia di Lammermoor Dramma Tragico di Salvatore Cammarano ... rappresentato sul Real Teatro di S. Carlo nell' autunno del 1835 ... D.6.00 [Piano-vocal score]. Gaetano DONIZETTI.
Lucia di Lammermoor Dramma Tragico di Salvatore Cammarano ... rappresentato sul Real Teatro di S. Carlo nell' autunno del 1835 ... D.6.00 [Piano-vocal score]

Lucia di Lammermoor Dramma Tragico di Salvatore Cammarano ... rappresentato sul Real Teatro di S. Carlo nell' autunno del 1835 ... D.6.00 [Piano-vocal score]

Napoli: B. Girard e Ci. [PNs 3266-72, 2890-2, 2894-6, 3411, 3308-10, 3261-2], [1851-1852]. 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 light pink publisher's printed wrappers bound in. 1f. (recto title, verso blank), 3-176 pp. Each number with separate caption title and pagination. Engraved.

With priced catalog, "Opere Teatrali Intere," to upper wrapper listing works by Bellini, Donizetti, Rossini, Verdi, et al. composed through 1851, 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. Title moderately foxed; light scattered foxing and a few small stains throughout.

Later edition, later issue. Inzaghi IN. 55, pp. 172-175. Girard's first edition of Lucia di Lammermoor appeared circa 1835. This later issue combines a number of variant plates from their early editions.

Lucia di Lammermoor was composed to a libretto by Salvadore Cammarano after Walter Scott’s novel The Bride of Lammermoor (1819). It premiered in Naples at the Teatro S Carlo on September 26, 1835.

"Both historically and artistically, Lucia deserves its reputation. When it was new it was regarded as the apogee of high Romantic sensibility. The clear plot, which trims away much of Scott’s accessory detail, possesses the stark tautness of a tale by Poe. It is no coincidence that Flaubert employed it as an important point of reference in the downward course of Emma Bovary, that quintessential victim of Romantic illusions."

"Although all the principal roles are vocally challenging, their music is uniformly grateful. The score contains scant sign of the unevenness that afflicts a number of Donizetti’s works. Cammarano’s libretto moved him deeply and, inspired by his recent first exposure to Paris, Donizetti produced what is certainly his masterpiece." 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 #31260

Price: $225.00  other currencies

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