Saint Saëns

SAINT-SAENS, Camille 1835-1921Biblio.com

Ascanio Opéra en 5 Actes et 7 Tableaux D'Après Le Drame "Benvenuto Cellini" de Paul Meurice Poème de Louis Gallet . Partition Chant et Piano réduite par l'Auteur Édition conforme au manuscrit original. Piano-vocal score

1890Best.-Nr. 26255Paris: Durand et Schoenewerk PN D.S. 4025 1890. Large octavo. Quarter contemporary black morocco with textured red paper boards rules and titling gilt to spine marbled endpapers. 1f. half-title 1f. illustration of a scene from the opera 1f. title i facsimile of 2 medallions under which the text "Benvenuto fecit" is printed i note regarding the mise en scène i named cast list for the first performance ii table of contents i blank 391 i blank pp. Text in French. With publisher's handstamp to lower outer corner of half-title. Supplement "Annexe" to pp. 388-391. Binding slightly worn rubbed and bumped; partially split at joints. Slightly browned; scattered foxing heavier to some leaves; several corners slightly creased. With occasional performance markings including accidentals slurs and breath marks in pencil. First Edition of the first version. Ratner II p. 205. Ascanio to a libretto by Louis Gallet after Paul Meurice's play Benvenuto Cellini was first performed at the Paris Opéra on 21 March 1890. "Composed in 1887-8 Ascanio makes a grand opera of a play of intrigue set in Paris in 1539. Meurice whom Saint-Saëns knew well had collaborated with Alexandre Dumas père on his novel Benvenuto Cellini published in 1843 and had fashioned a successful play from the story in 1852. To avoid confusion with Berlioz's opera the title was changed even though Cellini is still the principal character in the drama and a scene in the play where Cellini runs out of metal when casting a statue was not included. The choice of an episode from Cellini's life that took place in France at the court of François I satisfied Saint-Saëns' longstanding desire to base his operas on French history and by casting the third act as a fête at Fontainebleau a departure from Meurice's play he found an opportunity for an extensive divertissement of 12 dances very much in the spirit and to some extent in the style of French Baroque opera." Hugh Macdonald in Grove Music Online. Durand et Schoenewerk [PN D.S. 4025] unknown

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