[London]: 1823. 240 x 150 mm. On wove paper. Bust-length, looking to front. With "Signor Joachim Rossini" and "Engraved by W. Read, from an original Drawing expressly for La Belle Assemblée" below image, imprint beneath.
Published in La Belle Assemblée, no. 183.
From the collection of the distinguished American mezzo-soprano Marilyn Horne (b. 1934).
Margins somewhat worn and soiled; crease to blank lower margin; remnants of former mount to verso.
Scarce early engraving. Hall III, p. 443, 15. Müller: Hommage an Rossini, p. 23, 7.
"No composer in the first half of the 19th century enjoyed the measure of prestige, wealth, popular acclaim or artistic influence that belonged to Rossini. His contemporaries recognized him as the greatest Italian composer of his time. His achievements cast into oblivion the operatic world of Cimarosa and Paisiello, creating new standards against which other composers were to be judged. That both Bellini and Donizetti carved out personal styles is undeniable; but they worked under Rossini's shadow, and their artistic personalities emerged in confrontation with his operas. Not until the advent of Verdi was Rossini replaced at the centre of Italian operatic life." Philip Gossett in Grove Music Online.
The drawing of Rossini by French painter Louis Dupré (1789-1837) from 1819 was the source for many engravings of the composer as his fame began to spread throughout Europe.
"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. Item #31409
Price: $325.00 other currencies