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[Opera Program Paris, 1929]Biblio.com

Tsar Saltan Première Saison Ballets Russes Legacy Bilibin Stage Design

1929ref. 20354Paris: Opéra Privé de Paris 1929. Good/No Dust Jacket As Issued. RUSSIAN MODERNISM REBORN ON THE PARISIAN STAGE. A visually striking Première Saison program documenting the post-Diaghilev continuation of Russian operatic and theatrical culture in interwar Paris. Issued by the newly founded Opéra Privé de Paris in 1929 this richly illustrated production program for Rimsky-Korsakov's 'Tsar Saltan' preserves the artistic language of the Ballets Russes through tipped-in color costume and scenic designs after Ivan Bilibin and Alexandre Korovine. Founded immediately following the death of Sergei Diaghilev the Opéra Privé de Paris sought to sustain the creative energy of Russian émigré theater in Western Europe. This production united performers designers and musicians associated with the Russian diaspora transforming Pushkin's fairy-tale opera into a vivid expression of émigré modernism transplanted into the cultural life of Paris. PHYSICAL DESCRIPTION: Quarto format approximately 9.5 × 12.5 inches. Stapled illustrated wraps with full-color chromolithographic cover after Ivan Bilibin. Illustrated with six tipped-in color chromolithographs of costume designs after Bilibin executed from stage maquettes by Alexandre Korovine together with two additional tipped-in scenic plates and a tipped-in color portrait of Madame Maria Kousnezoff-Massenet by Nicolas Kousnezoff. Numerous illustrated period advertisements throughout including several full-page advertisements. CONDITION: One advertisement leaf detached but present. Plates remain vivid and visually strong with only light handling wear to the wraps. Staples sound. A well-preserved and unusually attractive example of interwar Parisian opera ephemera. Première Saison issue. Première Saison programs of the Opéra Privé de Paris survive in comparatively small numbers particularly examples retaining the full suite of tipped-in color plates after Ivan Bilibin. Comparable illustrated programs from this short-lived company appear only intermittently in the market especially in near-complete condition. HISTORICAL SIGNIFICANCE - The Opéra Privé de Paris was co-directed by the Russian soprano Maria Kousnezoff-Massenet and functioned as an important cultural bridge for displaced Russian artists after the Revolution. Though short-lived the company preserved important elements of Russian operatic staging and Ballets Russes visual identity during a transitional moment in European theater history. Ivan Bilibin's influence on Russian stage aesthetics remained profound well into the twentieth century and his designs for productions such as 'Tsar Saltan' helped define the visual mythology of Russian folklore on the international stage. This program captures a pivotal moment in the evolution of Russian theatrical modernism after the dissolution of the Ballets Russes. Following Diaghilev's death in 1929 Russian émigré artists in Paris sought new institutional forms through which to continue the aesthetic innovations that had transformed European stage culture during the previous two decades. The production of Rimsky-Korsakov's 'Tsar Saltan' adapted from Pushkin's fairy-tale poem provided an ideal vehicle for this visual and musical continuity. The decorative richness of Ivan Bilibin's folkloric imagery combined with the scenic interpretation of Alexandre Korovine preserves the highly ornamental stage language that became synonymous with Russian theatrical design in the early twentieth century. Beyond its theatrical importance the program also presents a vivid portrait of interwar Parisian cultural life. Its advertisements portraiture typography and chromolithographic inserts collectively illustrate the commercial and artistic environment surrounding Russian émigré performance culture in France between the wars. SUBJECTS: Ballets Russes Legacy Ivan Bilibin Stage Design Russian Émigré Art Paris Theater History Rimsky-Korsakov Tsar Saltan Interwar Opera Culture Russian Opera In Paris Chromolithographic Illustration Illustrated Performance Programs Opera Ephemera Theater History Russian Modernism Illustrated Programs. Opéra Privé de Paris unknown

Blind Horse Books [ABAA - FABA] · Estados UnidosUS$ 225,00≈ € 200,62

[OPERA -- PHOTOGRAPHS & POSTER ARCHIVE/WOMEN]. TALLEY, Marion NevadaBiblio.com

This small archive of press photos studio photos travel images together with the large opening night colour lithograph poster document the early career of this young artist who in 1926 was the youngest prima donna to have made a debut at the Metropolitan Opera and would later star in one of the first Vitaphone sound films.

1924ref. 51696New York NY; Hollywood CA; Taos NM: Underwood & Underwood Anderson Lumiere Guard Vitaphone Studios Metropolitan Music Bureau 1924-1927. Twenty seven items. With 24 photographs 3 sized 3.5 x 5.5 in.; 6 sized 5 x 7.75 in.; 1 w/ colour-tinted blue sized 7.25 x 9.5 in.; 16 sized 8 x 10 in.; many w/ annotations dating the photos in pencil some of the press photos and studio photos stamped on versos with attached newsreel information blurbs many w/ text in negative at lower corner of image; 1 very large colour lithograph poster printed on linen showing the young opera star seated and colours of pink gold and black sized 40 x 80 in. w/ wood bars at upper & lower for hanging some minor creasing from rolling but in Fine condition; and TLS from Lawrence H. Smith at Underwood & Underwood Inc. News Picture Division to Miss Marion Talley. These photographs and giant lobby poster provide splendid artifacts for the lavish attention paid to a young star at the beginning of her career during the Jazz Age. The very large poster is a beautiful example of colour lithography showing her demurely seated against a pink lozenge background with advertisements at the foot of the poster for Steinway Piano and Victor Records. Marion Talley 1906-1983 was the daughter of a telegraph operator for the Missouri Pacific Railroad and by 15 she was appearing in the Kansas City Grand Opera Company of Mignon by Abroise Thomas and quickly became a local celebrity often performing benefit concerts. She studied with music teacher Frank LaForge famed soprano composer who maintained a close relationship with the Metropolitan Opera and was placed under contract in 1925 by Giulio Gatti-Casazza at age 19 becoming the youngest principal female performer in the Met’s history to that point. Her debut performance was Feb. 17 1926 as Gilda the daughter of the title character in Verdi’s Rigoletto. The press photos show her surrounded by the many flowers she received in the 18 encores her performance on stage meeting the opera diva Ernestine Schumann-Heinck d. 1936 as well as her appearance on radio with Marguerite D’Alvarez and Giovanni Martinelli singing Home! Sweet Home!. In addition she also starred in the first Vitaphone short sound films released in 1926 with Don Juan starring John Barrymore and another Vitaphone short performing “Bella figlia dell’amore” from Rigoletto but the critics were savage criticizing her performances and her lack of appeal on camera. During this period she traveled extensively to Europe and through the southwest as evidenced by the series of photos showing her in Taos with the burros young Native American children and adults in regalia as well as her automobile. The photo of the young star by Samuel Lumiere 1878-1971 is a very nice example of his portrait work during the height of the 1920s when he was under contract to shoot celebrities for the Chicago Tribune. See: Barrios A Song in the Dark: The Birth of the Musical Film pp. 20-29; Vitaphone Marks 80th Anniversary Vitaphone News The Vitaphone Project Vol. 8 No. 1 2006; Crafton The Talkies: American Cinema’s Transition to Sound 1926-1931 1999. Underwood & Underwood, Anderson, Lumiere, Guard, Vitaphone Studios, Metropolitan Music Bureau, unknown

Zephyr Used & Rare Books · Estados UnidosUS$ 1.000,00≈ € 891,66

[NEW THEATRE ROYAL, ENGLISH OPERA]Biblio.com

The complete Success which after a Trial of several Weeks past has attended the Experiment of lighting the whole Stage by Gas.is now submitted to the Observation and it is respectfully hoped to the Approbation of the Visitors of the English Opera House.

1817ref. AQ35026London: s.n. 1817. Single leaf broadside. Browning and staining to edges with very small loss to lower right corner small hole and tear to title slightly obscuring final letters. A scarce playbill recording an early effort by London's Lyceum Theatre renamed The English Opera House in the summer of 1817 to present an illumination of the 'audience part of the theatre' during a performance of 'Free and Easy' a comic opera. Although the use of gaslight in street-lamps had first been demonstrated a decade prior in 1807 the goal to introduce gaslighting to the commercial stage took years to evolve into the competitive landscape of 1817 where three of London's premier West End venues the Theatre Royal Covent Garden Theatre Royal Drury Lane and the Lyceum Theatre entered into a rapid race to produce the first fully-gaslit public performances in a West End venue. The Royalty an East End theatre later renamed The East London Theatre had previously installed gas piping and lighting fixtures across both the auditorium and the stage in 1816 demonstrating the viability of such a project. The English Opera House led by director Samuel Arnold proudly boasted on August 6 1817 that 'Gas Lighting will this evening be introduced over the whole stage' seemingly claiming themselves the winners of the century's most contested technical theatre contest. Despite this the lack of an illuminated auditorium meant that the theatre's audience remained in candlelight until a month later when the venue opened fully illuminated for the first time. The Theatre Royal Drury Lane despite only revealing its gaslit stage on the 6th September 1817 was able to argue that due to their introduction of gaslighting into the auditorium several weeks prior they were in fact the first of the three theatres to achieve the much vied- for feat. On the same night The Theatre Royal Covent Garden also offered a demonstration of gaslight on their stage finally concluding the rivalry and introducing a vital element of technical staging into London's leading venues for the remainder of the century. Rare; COPAC records no copies in the UK OCLC adds a single copy overseas Yale. . Dimensions 170 x 340 mm. [s.n.] unknown

Antiquates Ltd · Reino Unido£ 450,00≈ € 535,54

[HANDBILLS - PEKING OPERA AND SOCIAL LIFE].Biblio.com

Four Popular Early 20th Century Chinese Handbills.

ref. 219368Tianjin.: 毓順成芳記. Yushuncheng fangji. Early 20th Century. Four handbills showing popular images two 13.2 x 18.4 are images of characters from Peking Opera and two 12.2 x 16.5cm depict themes important in Chinese society at the time. Text in traditional Chinese characters. Light even browning tiny closed tears at margin of one sheet repaired with washi. Very good. Chinese opera characters in the style of traditional woodblock prints were popular in the late Qing dynasty and early Republican period. Handbills of characters from Beijing opera were sold as collectible items that also helped to familiarise people with the characters of different operas; their costumes make up weapons and names. In this case there are two characters from the opera 白水灘 on one handbill and three characters from the opera 落馬湖 on the other. Images with social themes also made popular handbills especially in places such as Tianjin where the influence of foreigners was pronounced. In 福壽財源 we see an immortal carrying a peach of longevity surrounded by images of fertility - a young woman and boys carry fruit and flowers as well as other items symbolic of wealth - a coin a vase gold ingots and so on probably issued for New Year. The final handbill of the four 娶大媳婦 tells the tale of a girl of eighteen married to a boy of seven. The Chinese custom of marrying a young boy to an older girl adopted into the family is thus open for discussion - everyone in the image clearly has a different opinion of the situation; from the young husband the older farmer in the background and the two men in long scholars robes to the modern young man in a western suit with leather shoes as well as the girl herself. The practice of adopting a girl to bring up as a future wife for a male child was made illegal in 1949. The text mentions some of the ways in which the girl would be expected to help in her adoptive family's home. . 毓順成芳記. [Yushuncheng fangji] hardcover

Asia Bookroom · AustráliaAU$ 800,00≈ € 498,26

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