Gemma di Vergy [Piano-vocal score]. Gaetano DONIZETTI.
Gemma di Vergy [Piano-vocal score]
Gemma di Vergy [Piano-vocal score]

Gemma di Vergy [Piano-vocal score]

Tragedia lirica di E. Bidera ... Riduzione completa con acc.to di pianoforte ... L'opera intera D.5.50

Napoli: B. Girard e Ci. [PNs 2691, 2693, 2697, 2833, 4550-67], [ca. 1850].

Oblong folio. Burgundy leather-backed dark green cloth boards, spine in decorative compartments gilt, titling gilt. 190 pp. Each number with separate caption title and secondary pagination. Engraved.

Title with catalogue of pieces from the opera, including 5 alternative arrangements. Re-engraved with Girard's later address Largo S. Ferdinando 49.

Handstamp "Scuola di Canto dei Mo. Lombardini" to title and several pages throughout.

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

Binding somewhat worn, scuffed, and bumped; remnants of paper label to spine; free front endpaper lacking; shaken Rather worn throughout; moderately thumbed and foxed; creases and fraying to some corners; ape repairs to title and several leaves.

An early edition, later issue. Inzaghi IN. 53, p. 169.

Gemma di Vergy, a tragedia lirica in 2 acts to a libretto by Giovanni Emanuele Bidera after the play Charles VII by Alexandre Dumas, premiered in Milan at the Teatro alla Scala on 26 December 1834.

"Although Gemma is perhaps vocally the most daunting role Donizetti ever composed for a soprano, being designed for Giuseppina Ronzi De Begnis, Donizetti’s favourite prima donna during the 1830s, the opera retained its popularity in Italy until well into the 1860s. Musically the score has great merits. Gemma’s aria finale – consisting of a prayer of imprecation on her husband’s second marriage, succeeded by a change of heart and her resolution to enter a convent, which in turn leads into the eloquent Larghetto ‘Un altare ed unabenda’ and the despairing cabaletta, ‘Ah, chi m’accusa’ forms a classic test for a dramatic soprano d’agilità. The role of the Saracen Tamas, composed for Domenico Reina, is dramatically effective, and his Allegro giusto in Act 1, ‘Mi toglieste a un sole ardente’, was long a popular showpiece for tenors; on more than one occasion its libertarian sentiments prompted demonstrations against repression." William Ashbrook in Grove Dictionary of Opera.

Item #33587

Price: $125.00  other currencies

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