Ballet du KirovBiblio.com
1.574 resultados
ref. 51-0904Paris: Palais des Congrès 1982. Poster for the performances from April to June1982. 60 x 40 cm. mise en scène de Marius Petipa et Lev Ivanov ; chorégraphie de Constantin Sergueev ; musique de Tchaïkovsky ; livret de Vladimir Begichev et Vassili Gelster ; présentation rénovée sous la supervision de Oleg Vinogradov ; décors et costumes de Igor Ivanov ; interprété par le Ballet du Théâtre Kirov ; avec l'orchestre du Théâtre Kirov Paris: Palais des Congrès, 1982. unknown
ref. 100159New York Canell . Very good. - An original 10 inch high by 8-1/8 inch wide sepia toned gelatin silver photograph of the opera contralto Else Brems. The portrait depicts Else Brems from the shoulders up looking up with a soulful smile. The photographer's credit "Canell NY" is printed in white at lower right of the image. The contralto has inscribed the photograph to Enrico Rosati diagonally at bottom right "To dear Maestro with deepest gratitude / Sincerely / Else Brems". The top left corner is slightly creased and the bottom edge of the border is darkened. Else near fine. The Danish opera contralto Else Brems 1908-1995 is remembered the world over for her interpretations of Carmen. She first performed in Copenhagen at the age of 20 and her success propelled her to study with the American opera singer Sara Cahier who was herself famous for her performances of Carmen. She went on to appear as Carmen with the Royal Danish Theatre at the age of 22. Following a highly acclaimed private concert in Chicago she went to study in New York under Enrico Rosati the great voice teacher of Benniamino Gigli Giacomo Lauri-Volpi and Mario Lanza. She went on to perform the role hundreds of times and also performed the role of Bess in Gershwin's "Porgy and Bess" during the Second World War. Following the liberation of Denmark she sang the role of Elisabeth in the patriotic "Elvehoj". She performed many other roles while at Copenhagen's Royal Theatre and elsewhere. New York, Canell,
1985ref. 100069New York October 8 1985. 1985. Fine. - Over 30 words penned on her embossed 4-1/8 inch high by 6-1/8 inch wide personal postcard stock. The actress Kitty Carlisle thanks her good friend City Center producer Jean Dalrymple "What a good friend you are! I will follow the prescription to the letter & pray that its sic not too late!!" Signed "Kitty". The card is addressed in her hand on the verso and postmarked from New York on October 8 1985. Fine. Inducted into the American Theater Hall of Fame in 1999 Kitty Carlisle Hart 1910-2007 was an American stage & screen actress opera singer and television personality. A spokesperson for the arts she served on the New York State Council for the Arts for 20 years. Kitty Carlisle played the leading lady opposite Groucho in the Marx Brothers movie "A Night at the Opera" and regularly appeared on "To Tell the Truth". Jean Dalrymple 1902-1998 was the dynamic producer and director of theater and light-opera at Manhattan's City Center. Dalrymple began her career in Vaudeville appearing with James Cagney and Cary Grant in the early 1930s. She was a founding member of the American Theatre Wing the theatre service organization. She worked over the years as a personal manager for the likes of Leopold Stokowski Mary Martin Jose Iturbi Andre Kostalanetz Nathan Milstein and Lily Pons. She began her work at City Center with its founding in 1943 serving as a board member producer and publicist. Her productions there from the 1940s through the 1960s were a revitalizing influence on the whole New York theatre scene. In 1951 Jean Dalrymple married Major-General Philip deWitt Ginder commander of the Thunderbirds in Korea. She was a friend to Presidents and entertainment personalities throughout the world. New York, (October 8), 1985.
1977ref. 100063New York: March 12 1977. 1977. Fine. - Over 55 words typed on her 10 inch high by 6-1/2 inch wide light blue personal stationery. The soprano Carole Farley expresses her's and her husband conductor Jose Serebrier's gratitude for Jean Dalrymple's "help and kindness". "You are one of the most beautiful human beings we know." "I hope you will accept these tickets for my first performance." Signed "Carole". Fine. The first production of Alban Berg's "Lulu" at the Metropolitan Opera premiered on March 18 1977 with Carole Farley in the leading role in a production by John Dexter. Born in 1946 the American opera soprano Carole Farley was principal singer with the Metropolitan Opera. In 1977 at the age of 19 Farley performed the title role of "Lulu" in the METs premiere production of Berg's opera. Her performances of Poulenc's "La Voix Humaine" and Menotti's "The Telephone" were filmed by Decca in co-production with the BBC and are now re-issued on DVD a best-seller in the New York Times charts. Farley is married to the conductor Jose Serebrier. Jean Dalrymple 1902-1998 was the dynamic producer and director of theater and light-opera at Manhattan's City Center. Dalrymple began her career in Vaudeville appearing with James Cagney and Cary Grant in the early 1930s. She was a founding member of the American Theatre Wing the theatre service organization. She worked over the years as a personal manager for the likes of Leopold Stokowski Mary Martin Jose Iturbi Andre Kostalanetz Nathan Milstein and Lily Pons. She began her work at City Center with its founding in 1943 serving as a board member producer and publicist. Her productions there from the 1940s through the 1960s were a revitalizing influence on the whole New York theatre scene. In 1951 Jean Dalrymple married Major-General Philip deWitt Ginder commander of the Thunderbirds in Korea. She was a friend to Presidents and entertainment personalities throughout the world. New York: March 12, 1977.
1982ref. 96511New York September 23 1982. 1982. Very good. - Over 125 words typed on her husband Jose Serebrier's 11 inch high by 8-1/2 inch wide embossed stationery. In her letter addressed to her friend and press agent Jean Dalrymple the soprano mentions the dates of her forthcoming performances: "I am singing LA VEUVE JOYEUSE The Merry Widow at Theatre Chatelet . 30-some performances in all. It is a new production especially for me." She then mentions heading to Puerto Rico and subsequently Australia where "I will be making a film of the Poulenc opera 'La Voix Humaine' for television." She concludes "Looking forward to our lunch on Thursday and catching up" signed "Carole". In a postscript Farley asks if Jean Dalrymple could "bring me a copy or copies of your release on Thur". Dalrymple's press release is included with the letter. Folded for mailing there are rust stains from a paper clip to the top and bottom edges. Very good. Born in 1946 the American opera soprano Carole Farley was principal singer with the Metropolitan Opera. In 1977 at the age of 19 Farley performed the title role of "Lulu" in the METs premiere production of Berg's opera. Her performances of Poulenc's "La Voix Humaine" and Menotti's "The Telephone" were filmed by Decca in co-production with the BBC and are now re-issued on DVD a best-seller in the New York Times charts. Farley is married to the conductor Jose Serebrier. Jean Dalrymple 1902-1998 was the dynamic producer and director of theater and light-opera at Manhattan's City Center. Dalrymple began her career in Vaudeville appearing with James Cagney and Cary Grant in the early 1930s. She was a founding member of the American Theatre Wing the theatre service organization. She worked over the years as a personal manager for the likes of Leopold Stokowski Mary Martin Jose Iturbi Andre Kostalanetz Nathan Milstein and Lily Pons. She began her work at City Center with its founding in 1943 serving as a board member producer and publicist. Her productions there from the 1940s through the 1960s were a revitalizing influence on the whole New York theatre scene. In 1951 Jean Dalrymple married Major-General Philip deWitt Ginder commander of the Thunderbirds in Korea. She was a friend to Presidents and entertainment personalities throughout the world. New York, September 23, 1982. unknown
1906ref. 0007583Boston: Perry Mason Company 1906. First edition. Hardcover. Good. Folio 672 pages in publisher's embossed "yearbook" cloth with original wrappers bound in; occasional clips missing rehinged insect damage at fore-edge of top cover. This poem by Robert Lee Frost at p. 38 appeared without his knowledge - ignorant for years - long before its first book appearance in A BOY'S WILL see Crane's Frost bibliography E44. Other contributors include Hamlin Garland Gen. Charles King H. Rider Haggard Margaret Deland Gen. A. W. Greely Agnes C. Laut Jack London Capt. A. T. Mahan Robert E. Peary William McLeod Raine Charles G. D. Roberts Margaret E. Sangster Luther Burbank Mary Austin Grover Cleveland Helen Keller and Emerson Hough on Davy Crockett. Perry Mason Company hardcover
1952ref. 97444San Patricio New Mexico: Las Milpas Christmas 1952. 1952. Fine. - A 5-1/2 inch high by 4-1/4 card illustrated with a 2 inch high by 3 inch wide photogravure of the ballet master artist and military governor Paul Gardner riding his horse with hills rising up behind the prairies of "Las Milpas" his ranch in San Patricio. The image is centered at the top with the platemarks extending to measure 5 inches high by 3-3/4 inches wide. Inscribed in ink by Gardner within the platemarks below the image "All the Season's Greetings and best wishes for 1953 from Las Milpas" signed "Paul Gardner" and dated "Christmas 1952". An annotation in ink on the verso indicates that the envelope in which the card was mailed was "Postmarked: San Patricio New Mexico". Fine. Born in Boston Paul Gardner 1894-1972 majored in architecture at MIT before joining the U.S. Army Coast Artillery Corp. in 1917. He attained the rank of captain and was awarded the Croix De Guerre with Palm for his service in France during the First World War. He studied architecture and art in Europe during the summers eventually returning to Washington D.C. where he held the position of Ballet Master for the Washington Opera Company. Paul Gardner went on to co-own the Tchernikoff Gardnier School of Dancing with his dance partner Lisa Gardnier with whom he performed under the stage name Paul Tchernikoff. Focusing on art he went on to study at Harvard's Fogg Art Museum and was appointed the first Director of the William Rockhill Nelson Gallery of Art as well as the Mary Atkins Museum of Fine Arts. He served as a Lieutenant Colonel in command of the Arts and Monuments Commission of the U.S. Army in Italy during the Second World War. During the war Gardner also served as the Military Governor of Ischia an Italian island in the Mediterranean from 1942 to 1945. He spent the last 2 decades of his life on his ranch in New Mexico where he resided in the summer while spending his winters in Italy. San Patricio, New Mexico: Las Milpas, Christmas 1952. unknown
1980ref. 010713Scholar Book Publishers 1980. Book. Fine Condition. Cloth. 324 pages. Folio sized hardcover bound in cream colored cloth and wrapped in an illustrated paper dustjacket. Not dated in English but possibly published c. 1980. Texts in Chinese with a single paged English summary separately laid in. The binding is tight and crisp with no interior markings. The dustjacket now protected by a Mylar cover is in equally fine condition with no tears or losses. Lavishly illustrated with large full color drawings photographs and paintings as well as a number of smaller black and white images that help even the non-Chinese reader to grasp the changes in style and ornament throughout the history of perhaps the oldest civilization of the world. The reader of Chinese will benefit from the great amount of text which presumably offers a scholarly context for the images The English summary counted nine chapters 160000 words and 834 illustrations including 346 color photographs. Beginning with what looks to be a deer pelt adorned with a necklace of shells this history of fashion concludes with the modern stylings of the twentieth century woman in slacks and knee-length dresses. Scholar Book Publishers Hardcover
ref. 72198Peking China: Peking Opera 200. Presumed first edition/first printing. Hardcover. Fair. Lavishly illustrated including illustrating on otherwise clear plastic. Text in Chinese and English. Cover has slight wear and soiling. Some pages are disbound but present and suitable for framing. Appears complete. Peking opera or Beijing opera is a form of Chinese opera which combines music vocal performance mime dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing dynasty court and has come to be regarded as one of the cultural treasures of China. The art form is also preserved in Taiwan Republic of China where it is known as Guójù literally: "National theatre". Peking opera features four main types of performers. With their elaborate and colorful costumes performers are the only focal points on Peking opera's characteristically sparse stage. They use the skills of speech song dance and combat in movements that are symbolic and suggestive rather than realistic. Above all else the skill of performers is evaluated according to the beauty of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The layers of meaning within each movement must be expressed in time with music. . Melodies include arias fixed-tune melodies and percussion patterns. The repertoire of Peking opera includes over 1400 works which are based on Chinese history folklore and increasingly contemporary life. Types of facial makeup are a special method of makeup in Chinese traditional operas. Since every historical character or characters of a certain type are provided with a particular facial type similar to music scores for singing and playing music such a method of makeup is named "Types of facial makeup". Among all Chinese traditional operas types of facial makeup in Peking Opera have developed into the most systematic and mature one. Historical characters in Chinese traditional Peking Opera are provided with different types of facial makeup. They can reflect the identity status personality and appearance of the characters and therefore can intensify the artistic appeal on stage. As an impressionistic and exaggerated art types of facial makeup in Peking Opera is featured by painting brows eyelids and jowls in various patterns such as bat swallow wing and butterfly wing. Also it is characterized by portraying facial expressions with exaggerated nasal fossas and lipped fossas. The age can be reflected by the height and shape of "Crow's-feet" temperament by the opening and closing of "Chordal furrow" and personality by different patterns of "Glabella furrow". Additionally in the types of facial makeup in Peking Opera there exist some invariable images including white-faced Tsao Tsao and black-faced Bao Zheng. The white-faced image symbolizes wickedness and viciousness while black-faced image stands for equity and selflessness. Due to unchangeable rules in types of facial makeup personalities of a character with certain facial makeup can be seen from the facial colors and figures. As one of the onstage art techniques various types of facial makeup in Peking Opera enable the audience to know a character's personality easily and accordingly get more involved in the appreciation of the performance. Thus types of facial makeup enjoy the fame of "Interior Pictures" which is an extremely crack skill of art exclusively existing in Chinese operas. Patterns of theatrical masks have served as a symbol of China. Nowadays on the market there appear many exquisite and aesthetic commodities and stamps printed with such patterns which are of high appreciating and collecting values. Peking Opera hardcover
ref. 3735785New-York: Samuel French 121 Nassau Street 1855. 8vo. 34 2pp. Original printed wrappers ornamental border; light wear partial splitting along length of spine clean and well-preserved. Scarce American libretto for a mid-19th-century English opera troupe’s rendition of Rossini’s Cinderella performed at the Broadway Theatre in New York. While Rossini’s score is credited the adaptation is Anglicized and adjusted to suit the Broadway Theatre’s stage and audience. Based loosely on Rossini’s La Cenerentola 1817 this booklet was sold or distributed at performances serving both as a libretto and souvenir. This 1855 production starred Miss Louisa Pyne in the title role and Mr. W. Harrison as Prince Felix two leading figures of the Pyne & Harrison Troupe known for popularizing English-language opera in America during the 1850s. The cast list includes comic and magical roles such as Dandini Clorinda Thisbe and the Fairy Queen. unknown
ref. 51-1774San Francisco: 1971. . Poster. 34 x 22 inches. Photography by Pete Peters. San Francisco: 1971. unknown
1977ref. 100072March 5 1977. 1977. Fine. - One-and-a-half pages with over 85 words penned on both sides of 10-3/8 inch high by 7-1/8 inch wide creamy white paper. The Opera director and producer tells Jean Dalrymple that he'd "be delighted to hear Jay Willoughby. However I'm off to San Francisco very shortly for Carmen". He asks if Willoughby could contact him when he's back. He goes on to invite Jean to the "second set of performances May 19-22 - featuring the first performance of Dominick Argento's monologue A Water Bird Talk and an incredible chamber opera written in Theresienstadt concentration camp - The Emperor of Atlantis." Signed in full "Ian Strasfogel". Folded for mailing the edges are very faintly darkened. Near fine. The one-act opera "The Emperor of Atlantis or The Disobedience of Death" Der Kaiser von Atlantis oder Die Tod-Verweigerung was composed by Viktor Ullmann and Peter Kien while interned at the Theresienstadt concentration camp in 1943. It was not allowed to be performed and the script was not finished until the 1970s. The poet Aaron Kramer prepared an English translation which the San Francisco Spring Opera Theater first performed in April 1977 and which had its New York premiere at the New Opera Theatre of the Brooklyn Academy of Music on May 19 1977. The world premiere of Dominic Argento's "A Water Bird Talk" also took place at the Brooklyn Academy of Music that same evening. The opera director and producer Ian Strasfogel born 1940 was the author of several plays screenplays and librettos and of a novel titled "Operaland". Strasfogel directed over 100 productions throughout Europe and North America and frequently collaborated with Gyorgy Ligeti Luciano Berio Bruno Maderna Hans Werner Henze and Otto Piene. Jean Dalrymple 1902-1998 was the dynamic producer and director of theater and light-opera at Manhattan's City Center. Dalrymple began her career in Vaudeville appearing with James Cagney and Cary Grant in the early 1930s. She was a founding member of the American Theatre Wing the theatre service organization. She worked over the years as a personal manager for the likes of Leopold Stokowski Mary Martin Jose Iturbi Andre Kostalanetz Nathan Milstein and Lily Pons. She began her work at City Center with its founding in 1943 serving as a board member producer and publicist. Her productions there from the 1940s through the 1960s were a revitalizing influence on the whole New York theatre scene. In 1951 Jean Dalrymple married Major-General Philip deWitt Ginder commander of the Thunderbirds in Korea. She was a friend to Presidents and entertainment personalities throughout the world. March 5, 1977. unknown
ref. DADAX1577667182New unknown
ref. DADAX0253019370New unknown
ref. ria9783386621205_inpHardcover. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; Réimpression inchangée de l'édition originale de 1882. La maison d'édition Antigonos est spécialisée dans la publication de réimpressions de livres historiques. Nous veillons à ce que ces ouvrages soient mis à la disposition du public d hardcover
ref. DADAX019814556XNew unknown
ref. 100368Libretto Opera - Carlo Magno dramma serio - ed. 1817 Teatro Parma pp. 49 - Rara edizione per il carnevale 1817 - - Lingua italiana - Copertina rigida. - Condizioni molto buone - unknown
ref. 9979Undated. England 1880s. 4to 4 pp. Bifolium. 87 lines. Text clear and complete. Fair on aged paper with wear to extremities and a spike hole to one corner. Written in ink in a Victorian hand and with three changes in pencil. Docketed at head 'The art of Vocalization'. Towards beginning writes that the subject is one which he has 'studied many years in close connexion with the most eminent Masters of Italy most of whom I may rank among my personal friends and the pith of whose conversations added to my own experience I propose embodying in a few short essays upon the Formation of the Voice'. Gives 'the advice of a tenor singer of some renown in Otello &c literally as I heard it spoken to a student - the author died two years ago at Milan' beginning: 'I know but little of music - in comparison to me you are a professor - my voice was by nature imperfect - my figure is diminutive - yet I have been 1st tenor of some of the best Theatres and with success - mark me if you want to sing .'. Ends with offer to extend his remarks 'to the other Voices' in 'a future number'. Undated. [England, 1880s? unknown
ref. 125326Libretto Opera - I Visionari: Dramma Giocoso per Musica - ed. 1773 - Testo in lingua italiana. Pagine 52 - Copertina semirigida. - Condizioni buone con segni del tempo come da foto. - - unknown
ref. 52001Musica - Gran metodo elementare per violino composto e dedicato al suo genitore dai f.lli Alday - Torino Racca e Balegno fine '800 - Pag. 149 con alcune illustrazioni. - Copertina rigida - Testo in italiano. - Buone condizioni. - unknown
ref. 95744Spartiti - Il Furioso - Opera in due Atti di Gaetano Donizetti per Pianoforte - ed. 1890 ca. - Formato piccolo. Pagine 110 - Copertina rigida. - Condizioni buone con segni del tempo come da foto. - unknown
ref. DADAX0618096353New unknown
ref. SONG0521780098Used: Good unknown
ref. 5034628" x 10". Half-length pose by John E. Reed Hollywood signed and inscribed to Joseph Huntley. Very good. Signed and inscribed to African-American usher and autograph collector Joseph Huntley. Bliss 1917-2014 soprano; in various operettas on Broadway. One film credit. unknown
1978ref. 2092902138302100Taimasa Shoji Publishing Department 1978. Soft Cover. Fine. Number of pages: 372p Size: 21cm Taimasa Shoji Publishing Department paperback
