Louise Roman Musical en Quatre Actes et Cinq Tableaux ... Partition piano et chant. Prix net: 20 francs ... Théatre National de l'Opéra-Comique. [Piano-vocal score]. Gustave CHARPENTIER.
Louise Roman Musical en Quatre Actes et Cinq Tableaux ... Partition piano et chant. Prix net: 20 francs ... Théatre National de l'Opéra-Comique. [Piano-vocal score]

Louise Roman Musical en Quatre Actes et Cinq Tableaux ... Partition piano et chant. Prix net: 20 francs ... Théatre National de l'Opéra-Comique. [Piano-vocal score]

Paris: Au Ménestrel, Heugel & Cie. [PN H. et Cie. 19.659], [1911].

Large octavo. Quarter dark red calf with marbled boards, raised bands on spine in decorative compartments gilt, titling gilt, marbled endpapers. 1f. (recto dedication, verso blank), 1f. (recto half-title, verso blank), 1f. (recto title within red border, verso copyright statement), [i] (notes on first performance and named cast list), [ii] (contents), [i] (blank), 410 pp.

Named cast includes Marthe Rioton, Deschamps-Jehin, Tiphaine, Marié de l'Isle, Delorn, Vilma, de Craponne, Sirbain, Stéphane, E. Chevalier, Michaelly, del Bernardi, Perret, Argens, P. Vaillant, Fouqué, Derougeais, Maréchal, Fugére, Carbonne, Vieulle, Belhomme, Dufour, Rothier, Dangès, Viannenc, Rapaport, Devaux, Troy, Viaud, Huberdeau, Clasens, Micheau, Petit Georges, Garcia, Eyraud, Brossier, Éloi, Schindler, Jullien, Gilly, Larrogue, and Édéa Santori.

Binding slightly worn and rubbed; head and tail of spine slightly defective. Small handstamp relative to new price to title; small circular publisher's handstamp slightly trimmed to lower outer margin of cast list.

[?]Second edition.

In four acts to a libretto by the composer or by Saint-Pol-Roux, Louise was first performed in Paris at the Opéra-Comique (Salle Favart) on 2 February 1900, under Albert Carré. Considered to be his most recognized work, "Louise is a supreme example of Charpentier's ability to suit contemporary Parisian taste." Robert Orledge in Grove Music Online.

"Even before the première, the work had become something of a cause célèbre: rumours circulated about the immorality of the subject matter as well as about the revolutionary nature of the score. In fact it is far from unconventional, owing much to Gounod and Massenet; and Massenet admired it. There are, however, moments of originality... The work’s allegiance to the realist cause, its rich orchestral palette – which includes instruments as different as the viola d’amore... and the sewing-machine (foreshadowing the use of everyday ‘instruments’ such as the typewriter in Satie’s Parade) – and the memorability of the set-piece ‘Depuis le jour’ have assured it a unique place in the repertory." Richard Langham Smith in Grove Music Online.

Item #36739

Price: $85.00  other currencies

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