(Opera) DAaz, RafaeloBiblio.com
19 782 résultats
1925réf. 309392New York 1925. 1-1/2 pp. on personal letterhead. 8vo. Old folds else fine. 1-1/2 pp. on personal letterhead. 8vo. Reading in part: "Many thanks for your interest in my career. It's greatly appreciated . you are indeed very sweet." Born in San Antonio Texas operatic tenor Rafaelo Diaz 183-1943 was known as the "Lone Star Tenor of the Lone Star State." Praised for the depth and richness of his voice Diaz performed lead tenor roles with the Metropolitan Opera Company from 1917-1936. unknown
1857réf. 23116Albany New York: The Argus Company Print 1857. 1 vols. ca. 4 1/2 x 10 1/4 inches. Some light discoloration else a very good copy. 1 vols. ca. 4 1/2 x 10 1/4 inches. A Benefit for Charles Fechter. The fourth season for the Opera House. Leland Opera House. The Argus Company Print unknown
1808réf. 31530Paris: Chez Giguet et Michaud 1808. Frontispiece by Bagury after S. Myrie half-title. 1 vols. 12mo. Contemporary blue morocco-backed boards maroon morocco label. Some rubbing some light spotting and soiling primarily margina else very good. Frontispiece by Bagury after S. Myrie half-title. 1 vols. 12mo. A poem written in praise to the two male dancers Vestris and Duport. Chez Giguet et Michaud unknown
1886réf. 55097Denver: Denver Lith. Co 1886. 1 vols. 10 in x 7 in lithographed card with printed silk cover overlay. One inch tear in card at fold silk spotted with creases and very small holes. 1 vols. 10 in x 7 in lithographed card with printed silk cover overlay. Denver Lith. Co unknown
1930réf. 144431930. Image 9 1/2 x 7 1/2 inches matted and framed to 14 1/4 x 12 1/4 inches overall. 1 vols. Fine condition. Image 9 1/2 x 7 1/2 inches matted and framed to 14 1/4 x 12 1/4 inches overall. 1 vols. An attractive image showing the great Wagnerian soprano in street clothes seated. unknown
1968réf. 049592London 1968. Soft cover. Very Good. Original b/w photo-advert. 20 x 14 cm. Signed and inscribed by Korat to "Bedros bey" as '. my play-friend'. Dated 1.16.1968. Advert of Rigoletto Place des Arts - Montreal S. A. Goumsky - London. Korat also known as Korad was a Turkish female opera artist. She made her stage debut as 'Lucia' at Ankara State Opera. He studied on the Italian operas at the Deutsche Oper in Hannover and at the La Scala in Milan. In 1959 she was a soloist in the interpretation of the 9th Symphony in the Beethoven Festival Germany. She played the leading roles in the opera stages of European US and African countries. In 1966 she participated in the Verdi Festival in Montreal with famous artists. With her powerful and colorful soprano voice interpretation and technique she has gained widespread fame. Scarce. paperback
1873réf. A114407Melbourne: Azzopardi Hildreth & Co. 1873. Very Good. small octavo. card covers 23pp. Complete & tight. Very scarce Azzopardi, Hildreth & Co. unknown
1865réf. A114072Melbourne: Abbott & Co. 1865. Very Good. small octavo. card covers 22pp. Wrappers rather worn but complete & tight. Very scarce Abbott & Co. unknown
1870réf. A114288Sydney: Gibbs Shalllard & Co. 1870. Very Good. small octavo. card covers 24pp. ÔFirst produced in Australia at the Prince of Wales Opera House Sydney May 1870Õ. Advertisement for the opening of the new Melbourne Town Hall on the rear wrapper suggests that this is for a Melbourne performance. Wrappers rather worn but complete & tight. Very scarce Gibbs, Shalllard & Co. unknown
1867réf. A114289Sydney: Gibbs Shalllard & Co. 1867. Very Good. small octavo. card covers 36pp. Advertisements inside & on the rear wrapper suggests that this is for a Sydney performance. Wrappers loose & rather worn but complete & tight. Very scarce Gibbs, Shalllard & Co. unknown
réf. BN370497Stanley Roseman and the Dance - Drawings from the Paris Opera Hardcover Stanley Roseman and the Dance - Drawings from the Paris Opera Hardcover Stanley Roseman and the Dance - Drawings from the Paris Opera Hardcover hardcover
1883réf. 56458Providence 1883. Folio broadside approx. 13" x 5¾" text in a single column beneath the running head; light toning very good. Listing the cast of characters for this Irish drama in three acts made for the benefit of the Brownson Lyceum as well as a synopsis of each of the three acts and seat prices. The Irish poet Oscar Wilde had lectured at Low's the preceding September. unknown
1887réf. 56496N.p. Providence 1887. Folio broadside approx. 12" x 4¾" text in a single column beneath the running head light toning very good. Listing the cast of characters for this Irish comedy in four acts a summary of which is appended as well as a list of the Providence Opera House Orchestra and an announcement of two matinees Atkinson's Aphrodite and Peck's Bad Boy. unknown
1936réf. 300382Paris: Alliance de Publicite et de'Impression 1936. Full color program for the 1936-1937 season of Ballet Russe de Monte Carlo presented by Col. de Basil. Cover illustration by I. Bilibine on silver paper jacket folded over plain covers~ ~66pp. with 4 pages of tipped-in color plates on both sides picturing different aspects of the production such as the costumes and scenery. Some wear to cover edges and bottom of spine. Good. Alliance de Publicite et de'Impression unknown
1941réf. 58323New York: Reynal & Hitchcock 1941. 8vo. 8 304 pp. Illustrated title page w/ illust. of the soprano aria Caro nome from Verdi’s Rigoletto as well as larger facsimile plate of the sheet music. Tan cloth purple lettering minor shelfwear slightly cocked w/ d.j. Art Deco cover art of looming house & yellow lettering minor chipping head of spine minor creasing & edgewear still a VG/VG copy. First edition of this La Grande Oregon author’s first mystery set against the backdrop of the murder of an imperious coloratura soprano. After being lured out of retirement and joining the Monte Calvo Opera Company based in San Francisco California the opera diva is killed by a knitting needle at Lucifer’s Pride a half-finished castle in the Columbia River Gorge. Meyers who was an avid singer opera aficionado modeled his murdered soprano after the great Luisa Tetrazzini 1871-1940 and the “Lucifer’s Pride” castle built for her as a would-be wedding present on the famed Maryhill Museum dedicated in 1926 by Queen Marie of Romania and opened in 1940. Hubin I p. 570. Reynal & Hitchcock, hardcover
1924réf. 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
1986réf. 223029Sichuan.: 四川美术出版社. Sichuan meishu chubanshe. 1986. Poster showing 56 captioned Chinese Sichuan Opera facepaint masks. Text in simplified Chinese characters 76 x 52.5cm occasional light creasing corner pinholes in very good and bright condition. In Chinese opera individual characters are distinguished by highly codified facial make-up often described as painted “masks” and in some regional traditions particularly Sichuan opera by the use of actual masks. These visual conventions function as an interpretive guide for audiences signalling a character’s identity personality and moral attributes. Musical style facial design and costume vary markedly between regional operatic forms including Beijing opera Sichuan opera Yue opera and Cantonese opera reflecting distinct local performance traditions and aesthetic systems. . 四川美术出版社. [Sichuan meishu chubanshe]. unknown
1986réf. 628687Scholar Books Publishers 1986. 324 pp. 5 pp. folded leaf. 38.5 x 27 cm. White cloth covered boards with gilt lettering and illustration to spine and cover in a glossy pictorial dustjacket with gitl lettering with a folded booklet with title and contents in English. Light bumps and some rubbing and light wear to spine ends and corners of dustjacket. Price tag at tail of spine of jacket which is protected in a mylar cover. Interior is clean and unmarked. Binding sound. Due to the considerable size and weight of this book additional shipping may be required for expedited and international orders. . Hard Cover. Very Good/Very Good. Scholar Books Publishers hardcover
1808réf. 354London: Lowndes Printer 1808. First Edition. Broadside. Fine. Broadside approximately 11 1/2 x 8 1/2 inches untrimmed. Portion of bottom line of text unprinted. Small remnants of paper tape on verso else fine. Broadside advertising the twelfth performance of the opera KAIS OR LOVE IN THE DESERTS at Drury Lane starring and produced by the renowned English tenor John Braham. John Braham ca. 1774-1856 rose from poverty and orphanhood in London to the heights of European opera where he celebrated as one of the great voices of his age. As a British Jew he also represented a major shift in Jewish status and social potential in the late Georgian era becoming not only an artist of acclaim but also eventually the father-in-law of several English aristocrats. KAIS was based on the ancient Arabian love story of Layla and Majnun which had been adapted into a famous work by Persian Poet Nizami Ganjavi in the 12th century which in turn became the source for numerous later poets and mystics throughout the Middle East and Central and South Asia. The story gained great popularity in Europe after Isaac DIsraeli published an English translation in the early 19th century. It was upon this translation that Isaac Brandon based the libretto for KAIS. Braham and William Reeve composed the music for the opera which opened in 1807. Lowndes, Printer
réf. 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
réf. 4-39274Roma 1927 8vo br. pp. 85 con tav. fot. f.t. unknown
réf. 113823Turnhout Brepols 1969. 1088 columns. H.cl. 28 cm Rebound unknown
1910réf. 42191AB1910. Lugano Cooperativa Umanista no year c.1910. 15.2cm x 10.3cm. 23 pages. Original softcover. Very good condition with only minor signs of external wear. paperback
réf. 60995. PLEASE NOTE that those programmes on pink/yellow paper were sold whilst those on white paper were given free with the performance. Apart from the Announcement booklets all the programmes have a central panel on the front cover with an ornamental border. unknown
1924réf. 191217New Jersey: Victor Talking Machine Company 1924. Seventh Edition; revised. Hardcover. Very Good in boards. Top text block edge gilded fading. Victor Talking Machine Company hardcover
