Don Pasquale [Piano-vocal score]. Gaetano DONIZETTI.
Don Pasquale [Piano-vocal score]
Don Pasquale [Piano-vocal score]
Don Pasquale [Piano-vocal score]
Don Pasquale [Piano-vocal score]
Don Pasquale [Piano-vocal score]
PROCH, Heinrich 1809-1878 (trans.)

Don Pasquale [Piano-vocal score]

Komische Oper in drei Acten; nach dem Italienischen übersetzt von Heinr. Proch ... Vollständiger Clavierauszug mit deutsch und italienischem Texte

Wien: Ant. Diabelli und Comp. [PN D. & C. No. 7642-59], [1843].

Folio. Brown cloth-backed plain blue wrappers. 1f. (recto title, verso contents), [1] (cast list), 2-285, [1] (blank) pp. Engraved. Text in Italian and German.

Early signature "Josephine Rudolf" and handstamp "Musik-Antiquariat Karl Schwager" to title.

From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981).

Wrappers worn and chipped. Occasional light foxing, heavier to title; some offsetting; several leaves with paper tape repairs to blank margins; two lines on title underlined in red pencil.

First German edition. Inzaghi IN. 75, p. 195. Scarce (2 copies located in the U.S., at Duke and the Library of Congress).

The first edition to contain Donizetti's revisions for the Viennese performance.

Don Pasquale, a dramma buffo in 3 acts to a libretto by Giovanni Ruffini and Donizetti after Angelo Anelli, premiered in Paris at the Théâtre Italien on 3 January 1843. The incredible success of the opera led to a series of performances the same year, in Milan (17 April), Vienna (14 May), and London (19 June).

"Don Pasquale was an instant success ... For its Viennese première, at the Kärntnertortheater on 14 May 1843 in Italian (a production prepared by Donizetti), he added to the score the baritone-buffo duet ‘Cheti, cheti, immantinente’, borrowing it from a discarded section of the unperformed L’ange de Nisida; Don Pasquale was sung on that occasion by Tadolini (Norina), Rovere (Pasquale), Salvi (Ernesto) and Ronconi (Malatesta) ...

" ... [The opera] has been described as ‘Mozartian’, and clearly it shares certain characteristics with Mozart’s approach: the characters are humanized, not mere farcical stereotypes, and the melodies mirror the emotions they express. This comparison is often made in apparent astonishment that a Donizetti could achieve such an irresistibly heartfelt comedy. Rather, it is more appropriate to describe the opera as supremely ‘Donizettian’, for it stands as a summation of all his most valuable qualities." William Ashbrook in Grove Dictionary of Opera.

Item #33507

Price: $650.00  other currencies

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