Donizetti, GaetanoBiblio.com
930 résultats
réf. 0634071106.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 398711 leaf. Oblong quarto 210 x 284 mm. Four measures in keyboard score from the duet between Lucia and Edgardo in Act I Scene IV set to the words "A' miei voti in vovo il cielo" From all danger be guarded for ever. Notated in ink at the blank lower margin of an original accomplished drawing depicting a male and female figure in costume presumably the characters Lucy and Edgardo in the opera signed and dated by the artist in ink: "Clelia de Vera d'Aragona fece 14 Luglio 1838." In pen watercolor and brown wash with highlights in light gray gouache. Slightly worn; quite browned; offsetting from contact with another leaf of textual manuscript creating a slightly bleached appearance; small binding holes and fraying to left edge. Partial watermark most probably of the English paper maker J. Whatman. Provenance Christie's Rome 13 December 2001 Lot 337. Lucia di Lammermoor with a libretto by Salvatore Cammarano was first performed in Naples at the Teatro San Carlo on 26 September 1835. "It . very quickly became one of the most universally popular operas of the nineteenth century. . Donizetti himself writing to Ricordi three days after the première was in a rare state of excited exaltation: 'Lucia di Lammermoor went on . It pleased and it pleased very much if I am to believe in the applause and the compliments I received. I was called out many times the singers even more often. . Its title role has been impersonated by almost every soprano since 1835 who has supposed herself or has been supposed by others to have sufficient agility and enough dependable very high tones; the role of Edgardo has been favored by most of the non-Wagnerian tenors . The opera's second-act sextet 'Chi mi frena in tal momento' achieved an almost unique universal familiarity . The 'Mad Scene' became the chosen proving ground and applause-gatherer for an apparently unending succession of prima donnas. . With Rossini operatically inactive and Bellini dead Lucia di Lammermoor went far toward establishing Donizetti as the most eagerly sought-for of living Italian composers of opera - and therefore of all Italian composers - for the rest of his active life." Weinstock: Donizetti pp. 110-111 The artist was presumably a member of the historic Italian family De Vera d'Aragona of Naples. A unique and attractive document despite defects as noted. unknown
2006réf. SONG0041370082Ricordi 2006-01-01. paperback. Used: Good. 0.00x0.00x0.00. Buy with confidence. Excellent Customer Service & Return policy. Ricordi paperback
2010réf. DADAX1162086181Kessinger Publishing 2010-05-22. hardcover. New. 6.00x0.31x9.00. Buy with confidence. Excellent Customer Service & Return policy. Kessinger Publishing hardcover
1870réf. 36759Paris: J. Meissonier . E. Gérard et Cie. PN C.M. 4544 1870. Large octavo. Quarter black morocco black pebbled paper boards with crown and "M" gilt to upper spine in gilt-ruled compartments titling gilt marbled endpapers. 1f. recto title verso blank 1f. recto cast list verso blank 212 pp. Text in Italian. Lithographed. With attractive engraved armorial bookplate of the Duke of Massa possibly Alfred 1837-1913 to front pastedown. Lucrezia Borgia to a libretto by Felice Romani after the play by Victor Hugo was first performed in Milan at La Scala on 26 December 1833. "One of the major successes of Donizetti's career Lucrezia Borgia reflects Donizetti's interest in powerful melodramatic tragedy. He was attracted to the subject by the scene in Hugo's play in which the six coffins of Lucrezia's victims were suddenly revealed. The Milanese censors refused to allow the inclusion of this episode in the opera; indeed the subject was at first regarded as so suspect that three years elapsed between the successful opening run at La Scala. and its second production. For a time the work was given under a number of aliases; in one version the action was transferred to a non-Christian country. For its second production at La Scala in January 1840 Donizetti revised the final scene adding an arioso for the dying Gennaro and eliminating Lucrezia's final cabaletta as he thought it dramatically incongruous for a mother to sing a brilliant aria over a son whose death she has albeit unwittingly caused. From 1840 on Lucrezia Borgia became one of the central works of the repertory its vogue lasting until the end of the century." William Ashbrook in Grove Music Online. J. Meissonier ... E. Gérard et Cie. [PN C.M. 4544] unknown
1855réf. 33416Napoli: Regio Stabilimento Musicale di Teodoro Cottrau PNs 5207-13 5336-49 1855. Oblong octavo. Green cloth-backed marbled boards. 1f. title 3-92 pp. Engraved. Endpapers watermarked with an anchor and "Alfonso Am ." "La Briglia." Blindstamp of Cottrau to title. From the collection of Luigi Ricci 1893-1981 Italian conductor vocal coach and close associate of Puccini and Mascagni. Binding slightly rubbed. Light browning to edges; occasional light foxing. First Edition of this arrangement later issue. Inzaghi IN. 67 p. 188. La Favorite to a libretto by Alphonse Royer and Gustave Vaëz with additions by Eugène Scribe was first performed at the Paris Opéra on 2 December 2 1840. Donizetti used his earlier unperformed opera L'ange de Nisida as the basis for La Favorite talhough the plots are considerably different. The original French version became a standard in Paris performed regularly at the Opéra until 1918. It is now widely regarded as one of Donzietti's best operas with considerable attention given to the fourth act. "In spite of its mixture of sources La favorite must rank among Donizetti's best works although it slips from its high standard in a few instances such as the merely efficient ballet music." Ashbrook p. 447. Regio Stabilimento Musicale di Teodoro Cottrau [PNs 5207-13, 5336-49] unknown
1860réf. 33930Roma: Tipografia Menicanti 1860. Octavo. Plain yellow wrappers. 1f. recto title verso named cast list 3-6 named list of chorus and orchestra 7-36 pp. Cast list includes Gaetano Giovannini Euginio Corsi Giovanni Bernardoni "N.N." Roberto Bompiani Luigi Martellotti Angela Monghini Giuseppe Giannoli and Giuseppe Crosanti. Wrappers slightly worn and soiled; "18" in faint manuscript to upper. Light uniform browning; corners slightly creased. "A dominant figure in Italian opera Donizetti was equally successful in comic and serious genres and an important precursor of Verdi." Mary Ann Smart and Julian Budden in Grove Music Online. Tipografia Menicanti unknown
2017réf. __1520550898Independently published 2017. Paperback. New. 813 pages. Portuguese language. 9.00x6.00x1.84 inches. Independently published paperback
2017réf. __1520469845Independently published 2017. Paperback. New. 522 pages. Portuguese language. 8.00x5.25x1.18 inches. Independently published paperback
1834réf. 31259Milano: Gio. Ricordi PNs 7210-7224 1834. Oblong folio. Light yellow calf-backed marbled boards gilt-ruled compartments to spine. 1f. recto title verso blank 1f. recto table of contents verso blank 5-107 pp. Each number with separate caption title some with separate pagination. Engraved. From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981. Binding worn rubbed and bumped; minor loss to head and tail of spine; narrow strip cut from upper margin of front free endpaper with remnants of contemporary markings in all likelihood related to ownership. Light foxing and a few small stains to title; very minimal scattered foxing throughout. First edition for piano solo. Inzaghi IN. 47 pp. 164-166. Lucrezia Borgia to a libretto by Felice Romani after Victor Hugo's play Lucrèce Borgia was premiered in Milan at the Teatro alla Scala on December 26 1833. Despite an uneven reception it became one of Donizetti's most successful operas particularly after the second production of the work in 1840. Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. Gio. Ricordi [PNs 7210-7224] unknown
1840réf. 31312Roma: Scip. De Rossi e C. 1840. Oblong folio. Sewn. 11 1 blank pp. Lithographed. From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981. Slightly worn and browned; corners creased; minor foxing and staining throughout. An early edition published after the 1840 performance in Rome. Inzaghi IN. 35 p. 151. The lithographer of the present edition Filippo Martelli was one of a number of lithographers active in Rome in the 1840s; he executed lithographic editions of a number of works for the publisher Scipione De Rossi. See Twyman: Early Lithographed Music p. 458. Anna Bolena to a libretto by Felice Romani after Ippolito Pindemonte's Enrico VIII ossia Anna Bolena 1816 and Alessandro Pepoli's Anna Bolena 1788 was first performed in Milan at the Teatro Carcano on December 26 1830. The duet "S'ei t'abbore" between Percy Riccardo and Anna comes near the end of the first Act and was sometimes replaced in performances. Ashbrook: Donizetti and his Operas pp. 617-618. "This was Donizetti's first great international success giving him his initial exposure to Paris and London audiences. Pasta Anne and Rubini Percy sang in the première. Immensely popular for almost half a century it re-entered the modern repertory following a triumphant revival at La Scala with Callas in 1957. Since then the work has proved a favourite vehicle for such bel canto specialists as Sutherland Sills and Caballé." William Ashbrook in Grove Music Online. Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. Scip. De Rossi e C. unknown
1833réf. 31313Milano: G. Ricordi e Co. PN 6755 1833. Oblong folio. Red marbled paper wrappers. Sewn. 11 1 blank pp. Engraved. From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981. Wrappers slightly worn and faded. Slightly worn and browned; partially detached at lower inner margin; minor foxing and staining throughout; occasional small tears; some corners creased;. First Edition. Inzaghi IN. 44 pp. 158-9. Il Furioso nell'isola di San Domingo to a libretto by Jacopo Ferretti based on a play of the same name after Don Quixote was first performed at the Teatro Valle in Rome on January 2 1833. The duet "Di quegli occhi" between Cardenio and Kaidamà comes near the end of the first Act. "Il furioso is sometimes described as an opera semiseria because of the presence in the cast of a buffo character - Kaidamà who is a 'natural' defective and therefore a foil to Cardenio's delusions; but he is a figure of pathos rather than fun. It is in fact a Romantic melodramma through and through and is so described in the original libretto. The score contains some finely wrought arias and moving ensembles." William Ashbrook in Grove Music Online. Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. G. Ricordi e Co. [PN 6755] unknown
1843réf. 30256Paris: Launer PN Vve. L. 3396 1843. Large octavo. Quarter black calf with marbled boards. 1f. recto blank verso publisher's catalogue 1f. recto title within decorative border verso blank 220 pp. Engraved. Overpaste of the French 19th century music and musical instrument dealer Henri Masson to foot of title with small oval handstamp to lower margin obscured. Named cast list in pencil to verso of title. Binding worn rubbed and bumped; minor paper loss; hinges partially split; minor discoloration to rear pastedown; minor ink staining to verso of front endpaper and facing blank leaf. Occasional light foxing; some signatures split or partially split; minor dampstaining to upper corners of pp. 177 on; minor tear to upper outer margin of pp. 95/96 and outer margin of pp. 165/166 not affecting music; pp. 217-20 partially detached with wear and minor tears to outer edge not affecting music. The present edition includes an additional aria on pp. 216-220 composed by Tadolini for the Italian tenor Giovanni Rubini 1794-1854 known particularly for his performances of the works of both Bellini and Donizetti. Launer [PN Vve. L. 3396] unknown
1852réf. 26482Paris: Schonenberger PNs S. 1828 1188 1852. Octavo. 1f. title i thematic table of contents i publisher's catalog 162 pp. Engraved. Vendor's handstamp to lower margin of title. Lacking wrappers with remnants of modern green paper to spine. Moderately foxed; some leaves stained; repairs to margins of some leaves affecting several measures of music. Later edition. Lesure II pp. 395-396. OCLC no. 7618582. Poliuto a tragedia lirica to a libretto by Salvadore Cammarano after Pierre Corneille's play Polyeucte was first performed at the Teatro San Carlo in Naples on November 30 1848. "Never very successful in Paris Les Martyrs enjoyed some circulation in an Italian translation as I martiri but in Italy the more compact three-act Poliuto was generally preferred. Its performance history there began in 1848 when it received its première in Naples soon after Donizetti's death; the recent granting of a constitution there made the mounting of the banned work seem a political gesture as well as an artistic one. Throughout the 19th century it was put on periodically as a vehicle for such dramatic tenors as Tamberlik and Tamagno. It has had some notable revivals: at La Scala in 1940 with Gigli and Caniglia and in 1960 with Corelli and Callas; in 1977 at the S Carlo; and in Vienna in 1986 with Carreras. A Rome revival in 1988 followed a text that removed many years' editorial accretions. Les martyrs too has been revived notably in Venice in 1978." William Ashbrook in Grove Music Online. Schonenberger [PNs S. 1828, 1188] unknown
1842réf. 28417Milano: Ricordi PNs 13931-55 1842. Oblong folio. Contemporary dark blue cloth with decorative blindstamping gilt rules to edges and spine "E.P. Mavromihali" stamped in gilt to upper. 1f. title within decorative dark yellow border ii recto named cast list verso listing 25 numbers 3-275 pp. Engraved. Each individual number with separate pagination. With overpaste of the contemporary music seller Domenico Vicentini of Trieste to title. Cast list includes Eugenia Tadolini as Linda Agostino Rovere Napoleone Moriani Prospero Derivis Felice Varese and Marietta Brambilla. With early musical embellishments to Linda's part in Number 12 p. 127 and additional occasional performance markings in pencil. Binding worn rubbed and bumped at extremities. Slightly worn; some minor foxing; minor thumbing to lower outer corners; very minor staining to lower margin of final leaves; occasional vertical creasing; upper margin trimmed occasionally just affecting printed area and titles but with no loss of music. Second edition first Italian edition published just months after the first edition published in Vienna in May of 1842. Bergamo catalogue 46. Inzaghi IN. 73 p. 192. Crawford pp. 146-7 incorrectly describing this as the first edition. A melodramma semiserio in three acts to a libretto by Gaetano Rossi after Adolphe-Philippe d'Ennery and Gustave Lemoine's play La grace de Dieu Linda di Chamounix was first performed in Vienna at the Kartnerthortheater on May 19 1842. "The score of Linda is a monument to Donizetti's unfailing good taste from the finely crafted overture to the final ensemble. Along with Bellini Donizetti epitomized the Italian Romantic spirit of the 1830s. If Bellini expressed Italian Romanticism in its most concentrated form Donizetti compensated by a greater versatility and resource and a stronger feeling for dramatic movement. He also had the benefit of a more thorough musical training under Mayr and Mattei and this contributed much to his superior fluency of technique and invention." TNG II online. Ricordi [PNs 13931-55] unknown
1854réf. 26743Roma: Tipografia dell Rev. Cam. Apostolica 1854. Small octavo. Modern marbled wrappers. 1 title 2 "Direttori della Musica" 3-26 1f. printer's note pp. With decorative woodcut device to p. 26. The libretto to a performance incorporating music by Verdi Rossini Mercadante and Donizetti at the papal seminary in Rome to celebrate the Immaculate Conception of Mary Christ's mother on 13 December 1854 with Luigi Moroni Gaetano Capocci and Giuseppe Negri named as the "Direttori della Musica." Includes 4 works by Verdi: "Salve o Madre: un sacro patto tutti stringe i figli tuoi" from the opening chorus of La Battaglia di Legnano 1849; Silenzio misterio" from the opening chorus of I due Foscari" 1844; "Plaudiam di letizia" from the opening chorus of the Act I finale of Stiffelio 1850; and "Regina dell'alme." Other works performed include Rossini's "Pura stella-del mattino;" Mercadante's "Sacro alla pace degli eletti;" and Donizetti's cantata "Celeste un' aura dal tempio move." Minor foxing heavier to endpapers. Probable First Edition. Rare. Worldcat 2 copies only at the Universities of Chicago and Dayton. OCLC no. 57468047. An interesting source for several little-known works. Tipografia dell Rev. Cam. Apostolica unknown
1988réf. DADAX0634071610Ricordi 1988-12-01. hardcover. New. 8.25x0.78x10.75. Buy with confidence. Excellent Customer Service & Return policy. Ricordi hardcover
1985réf. DADAX0769278469Alfred Music 1985-03-01. paperback. New. 7.00x0.70x10.40. Buy with confidence. Excellent Customer Service & Return policy. Alfred Music paperback
1865réf. 235590Boston: Oliver Ditson & Co 1865. First edition front wrapper without portrait of Lincoln appearing in later issues. Engraved title and piano score; 5 pp. 1 vols. Folio. Loose as issued; split along spine with some chipping to extremities. First edition front wrapper without portrait of Lincoln appearing in later issues. Engraved title and piano score; 5 pp. 1 vols. Folio. Donizetti died 17 years before Lincoln having gone mad from syphilis. His Funeral March gained a measure of recognition in America after it was performed during Lincoln's funeral ceremonies. It is a heavy solemn piece in a minor with droning octaves in the bass a haunting chromatic figure in the middle register and a lyrical upper voice. see Barret Sale Lot 693; Stern Collection of Lincolniana Oliver Ditson & Co unknown
réf. 008939Paris s.d.: Montgredien et Cie. This is a very good hardcover copy bound beautifully in half leather and marbled boards gray leather spine label title in gilt. Bound in dark red leather and 19th century marbled paper in dark red pale blues and grays gold and cream colors. Just light rubbing to edges. Completely clean inside and out. Text in French. Frontispiece and illustrations by Ch. Clerice in black & white. Complete text and music for Donizetti's four act opera 'La Favorite'. 11" high X 8" wide 268 pages. A beautiful copy. This book will be securely wrapped and packed in a sturdy box and shipped with tracking. Hard Cover. Very Good. Montgredien et Cie. Hardcover
réf. MUSI1225Milano Paramica / LaMa House 2009. Quer 4°. 20 Bll. mit farb. Illustr. Orig.-Kart. Text in deutscher italienischer englischer und spanischer Sprache. Edizione italiana inglese spagnola e tedesca ISBN: 978-88-89582-59-6 Printed with vegetable inks. [Milano], Paramica / LaMa House 2009. unknown
réf. 0634072048.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 008610D'Almaine and Co; A Bertioli; S Chappell; Goulding and D'Almaine; Keith Prowse; T Holloway; J Power; H Falkner; . 1st Edition . Half Calf. Fair/No Jacket. Folio - over 12 - 15" tall. Circa 1830 - 1850. This is a fascinating bound volume of guitar music scores from the early part of the 19th Century including an early instruction book on how to play the Spanish Guitar: "A complete instruction book for the Spanish guitar with rules to facilitate a knowledge of that elegant instrument progressive lessons duets and songs. Written and arranged by Alexander Sosson." This section runs to 35 pages and has music and exercises for the guitar student discussing finger position tuning arpeggios slurring chords barring and much more. Thereafter are bound 24 contemporary scores as follows most pub by D'Almaine unless otherwise stated: 1. Three Variations for the Spanish Guitar Die Feindlichen Vollkstame composed by Mauro Guiliani Op 7 Fingered by A Bertioli published by the Author expressly for his Pupils 42 Rathbone Place Oxford Street. 2. An Italian Air Composed for the Piano Forte and Spanish Guitar respectfully dedicated with permission to Miss Spike by Alexander Bertioli pub by S Chappell 50 New Bond Street. 3. Love Will Play The Leading Part sung by Mr H Phillips at the Theatre Royal Covent Garden in the Grand Opera of Lestocq or the Fete of the Hermitage arranged for the Spanish Guitar and Dedicated to James Hepburn Esq by F W Brandau pub by D'Almaine. 4. Come Dwell With Me Ballad Sung by Mrs Waylett The Poetry by T Haynes Bayly The Music Composed by Alexander Lee arranged. by F W Brandau. 5. Bochsa's Celebrated Harp March arranged. by Osmond G Phipps pub by D'Almaine and Co. 6. The Wind and the Beam Loved The Rose sung by Mrs Keeley in the Musical Romance of the Last Days of Pompeii arranged by F W Brandau pub by D'Almaine. 7. Vivi Tu Te Ne Scongiuro from Anna Bolena composed by Donizetti arranged. by F W Brandau. 8. Cielo A Miei Lunghi Spasimi Prayer. by Donizetti arr. Brandau. 9. Masquerade Song sung by Miss Shirreff. in the Grand Opera Gustavus the Third. by Auber arr. Brandau. 10. Teach Me To Forget Ballad. Poetry by Thomas Haynes Bayly. arr. C M Sola. 11. Non Giova Il Sospirar arr. C Eulenstein 12. A Savoyard Air arr. A Bertioli. 13. Carulli's Preludes and Scale with Six Variations by Giuliani. by Bertoli 14. Though the Day of My Destiny's Over. by Lord Byron. Alexander Lee. by F W Brandau 15. Kate Kearney. by Miss Owenson. arr C Eulenstein 16. Non V'Ha Squardi Cavatina. by Donizetti arr. F W Brandau 17. Night At Sea. composed by Henri Herz. arr. Osmond G Phipps. 18. Oh! Gentle Love!. arr. F W Brandau 19. Ye Banks and Braes from Flowers of Song arr by T B Phipps and other composers pub T Holloway London 20. Memory from Flowers of Song arr by T B Phipps and other composers pub T Holloway London. 21. Ye Mariners of Spain Song of the Galley from a Set of Six Ancient Spanish Ballads. words by John Lockhart. composed. by Mrs Robert Arkwright. pub J Power. 22. The Light Bark. by Miss Mahony. arr by J T Craven. 23. Roland the Brave. by Thomas Campbell. arr by Mrs Robert Arkwright 24. A Canadian Boat Song arr for Three Voices by Thomas Moor. The book is in half green calf rubbed and worn with the backstrip separating. There is a small amount of of bookworm damage to the outer edge of the leaves not affecting the print area and one leaf has a lateral closed tear no loss. In all this is a rarety with guitar scores being fairly unusual and with songs here little-known. Searches for the titles herein reveal most are not available for sale elsewhere. Scarce if not rare. D'Almaine and Co; A Bertioli; S Chappell; Goulding and D'Almaine; Keith Prowse; T Holloway; J Power; H Falkner; unknown
réf. 005931Various. Library Compilation . Hardcover. Very Good/None as Issued. EX-LIB. Collection of 9 variously sized soft cover librettos bound by The Free Public Library of Concord MA in Feb 1943 as Volume 2 of two. Black boards w/gilt spine lettering/NF. The librettos are: 1 L'AMORE DEI TRE RE Tragic Poem in 3 Acts Sem Benelli; the original Italian with English translation by R.H. Elkin published by Fred. Rullman for the Chicago Civic Opera Co; text Near New & bright. 2 LUCIA DI LAMMERMOOR Donizetti published by Oliver Ditson Boston; Italian/English text and music of princial airs; text Near New soft cover discolored & chipped. 3 LA JUIVE The Jewess in 5 acts Havlevy Fred. Rullman for the Chicago Civic Opera Co; text/Near New; discoloration to cover. 4 THAIS Lyric Comedy in 3 acts music by Jules Massenet; French/English text; printed as performed at the Manhattan Opera House under the direction of Oscar Hammerstein for the Boston Opera House by Fred. Rullman; Text/As New w/trace margin discoloration cover/Fine. 5 DON GIOVANNI Mozart with Italian/English text; Oliver Ditson Boston. Text/Near New w/curled corners to upper corner of last pgs. Cover/NF. 6 LA BOHÉME Puccini Italian/English text. Published by G. Ricordi New York. Text/As New w/trace margin discoloration. Cover/NF w/pencil notations. 7 MADAMA BUTTERFLY Puccini Italian/English text. Published by Boosey New York for the Boston Opera Co.Text/As New. Cover/NF w/edge discoloration. 8 SNEGOUROTCHKA The Snow Maiden Rimsky-Koraskoff French/English text. Fred. Rullman for the Chicago Civic Opera Co. Text/As New; with edge wear. Cover w/edge discoloration & wear. And 9 SAMSON AND DALILAH Camille Saint-Saëns French/English text. Fred. Rullman for the Boston Opera House. Text/As New. Cover/NF w/light soiling. Various hardcover
2014réf. G2843853133I4N00PREMIERES LOGES 2014. Unknown. Very Good. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More Spend Less.Dust jacket quality is not guaranteed. PREMIERES LOGES unknown
