Caruso

Caruso — marelibri

CARUSO, Enrico 1873-1921Biblio.com

Original caricature signed believed to be of the French composer Paul Dukas 1865-1935

Best.-Nr. 23549189 x 149 mm 7.5 x 5.75". Dated 1913. Blue pen and wash. Slightly worn and foxed especially to verso; creased at upper edge and central fold; remnants of adhesive to upper corners of verso. Together with: A handsome postcard photograph of Caruso seated stylishly dressed with cigarette and cane in hand. 136 x 84 mm. with the name of the photographer's studio Brogi printed to lower right edge of recto the name and London address of the publisher Breitkopf and Härtel and "Printed in Germany" printed to verso. Slightly browned; remnants of adhesive to verso. While Caruso's self-caricatures are possibly the most desirable to opera collectors his often insightful drawings of composers singers conductors etc. are also valuable iconographical records. See Sisca: Caruso's Caricatures NY Dover 1977 for a comprehensive overview of the caricatures. "The famous tenor Caruso was a skilled amateur caricaturist who portrayed himself in operatic roles and drew humorous portraits of friends as a release from his stressful professional life. Since 1903 Caruso had lived in New York for part of each year while performing at the Metropolitan Opera and sent opera-related caricatures to La Follia a local Italian-language newspaper." Website of The Metropolitan Opera New York "With his original treatment of traditional forms his highly inventive approach to musical drama and his importance as a teacher and writer Paul Dukas occupies a central position in French musical history. Dukas was not only an influence on many French 20th-century composers and others such as Zemlinsky and Berg but also remains important in his own right. His reputation rests on only a small number of compositions notably the Piano Sonata Ariane et Barbe-bleue the ballet La Péri and L'apprenti sorcier. Dukas's influence as a critic from 1892 to 1932 can be compared with Debussy's; his informed opinions reveal great sensitivity to the musical and aesthetic changes that took place during the period." Manuela Schwartz and G.W. Hopkins in Grove Music Online. unknown

J & J Lubrano Music Antiquarians LLC · Vereinigte Staaten518,00 $≈ 462,79 €

CARUSO, Enrico 1873-1921ABAA

Original caricature signed believed to be of the French composer Paul Dukas 1865-1935

J & J Lubrano Music Antiquarians LLC · Vereinigte Staaten518,00 $≈ 462,79 €

CARUSO, Luigi 1754-1823Biblio.com

Ah se l'avverso Fato . Scena e Duetto. Copyist musical manuscript full score

1790Best.-Nr. 40866Italy 1790. Oblong quarto 219 x 279 mm. Sewn. Notated in black ink on 10-stave rastrum-ruled paper. i title 54 i blank pp. Scored for two soprano voices Corimba and Calto and strings. The duet for the same characters is accompanied by strings oboes and horns. Minor soiling to title and final blank page; occasional browning and minor foxing; small early label with "293" in manuscript to upper inner corner of title. Drawn from the opera La disfatta di Duntalamo re di Theuta first performed in Rome at the Teatro Argentina in 1789. Caruso "studied first with his father Giuseppe and then with Nicola Sala at the Conservatorio della Pietà dei Turchini Naples. He began composing operas at an early age achieving success both in Italy and abroad where his works were performed almost every year. . Caruso wrote many operas; his comic operas were sometimes reworked under different titles to satisfy the constant demand of the theatres. Their comedy always has a touch of pathos and intimacy typical of 18th-century Neapolitan opera. Orchestral numbers and excerpts were widely distributed in contemporary manuscripts and were published in Florence London Paris and Rome. The librettos he set whether by illustrious poets Metastasio Bertati Rossi or little-known writers were always of high quality. He is notable for his extended melodies often reminiscent of Paisiello and for their formal construction. Although he continued to compose into the 19th century he was unwilling to accept the innovations of Romanticism remaining firmly linked to the older Neapolitan style. For this reason in the last years of his life he turned his attention almost exclusively to sacred music which contain some interesting stylistic features and instrumental music." Galliano Ciliberti and Marita P. McClymonds in Grove Music Online. unknown