19 782 résultats
1886réf. 100911November 21 1886. 1886. Good. - Franco Novara's autograph boldly penned on 3-1/2 inch high by 4-1/2 inch card stock clipped from an album and mounted onto slightly larger card stock. Signed and dated "Franco Novara / 21. Nov. 1886. / New York". Mounted on the verso of the mount is the pianist Madeline Schiller's autograph penned on 3-1/2 inch high by 4-3/8 inch wide card stock signed "Very Sincerely / Madeline Schiller". There is offsetting to the card signed by Novara and remnants of paper adhere to the right edge of the card bearing Schiller's signature with some offsetting along the left edge of that card. Good. The English bass Francis Naish sang under the stage name Francis Novara 1859-1899. He was known for his performance as the devilish Mephistopheles in Gounod's "Faust" which opened on October 22 1883 as the first opera in the Metropolitan Opera's first season. The English-born pianist Madeline Schiller 1843-1911 went to Leipzig to study with Ignaz Moscheles making her debut there with Mendolssohn's Piano Concerto No. 1 on January 23 1862. She returned to London to perform there as well as Australia. She married Marcus Elmer Bennett of Boston and moved to the United States in 1873 performing in New York. She returned to Europe for a while after her husband's death mostly in France before returning to New York to perform the premiere of Tchaikovsky's Piano Concerto No. 2 where she remained. November 21, 1886.
réf. 1334568928.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 1786829193.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 9791280717443Maria Callas 100 Vissi d'Amore The art of Maria Callas the soprano that changed the history of the Opera before and after. The main protagonists and historians from the Opera sphere narrate Callas's vocal abilities and her performing charisma none other than the 'Divina'. With her repertoire and her heroines she was able to create a definitive myth of a unique way of interpreting the roles. Exclusive images published for the first time from the Ragni-Cuoco collection and from the personal Archives of the Authors that narrate the most significant moments regarding the career of the Artist and the Woman herself. Limited edition hand numbered 777 exemplars SCRIPTA MANEANT hardcover
1952réf. List2814Homestead Pennsylvania 1952. 7 x 9 inch photograph. International News Photos and Tribune 4th Edition stamps verso with newspaper clipping. Marked “623” in pencil recto. Fine. Olive Moorefield b.1932 is an American opera singer and theater and film actress from Homestead Pennsylvania. As the newspaper clipping on the back of this photograph—from very early in Moorefield’s career—explains “She had earned $22 by baby sitting and decided to go to New York in hopes of auditioning for a play. She was given a try at a part in ‘My Darlin’ Aida’ . She made the grade”. Following Aida she was brought to Vienna by the US Information Service to sing for servicemen and would go on to sing for the Vienna Volksoper Oper Frankfurt Schauspielhaus Zürich and others. She would also star in a number of German and Viennese films. Offered here is a photograph of Moorefield’s mother sitting on the porch of Moorefield’s childhood home. The clipping states that her mother “urged her to try for the part” of Lolly in Aida. unknown
1980réf. KOS01205383TBD 1980. Soft Cover. Fine. KOS01205383 TBD paperback
1980réf. KOS02300453Executive Committee of toyoo ITO 1980. Soft Cover. Fine. KOS02300453 Executive Committee of toyoo ITO paperback
réf. 3735785New-York: Samuel French 121 Nassau Street 1855. 8vo. 34 2pp. Original printed wrappers ornamental border; light wear partial splitting along length of spine clean and well-preserved. Scarce American libretto for a mid-19th-century English opera troupe’s rendition of Rossini’s Cinderella performed at the Broadway Theatre in New York. While Rossini’s score is credited the adaptation is Anglicized and adjusted to suit the Broadway Theatre’s stage and audience. Based loosely on Rossini’s La Cenerentola 1817 this booklet was sold or distributed at performances serving both as a libretto and souvenir. This 1855 production starred Miss Louisa Pyne in the title role and Mr. W. Harrison as Prince Felix two leading figures of the Pyne & Harrison Troupe known for popularizing English-language opera in America during the 1850s. The cast list includes comic and magical roles such as Dandini Clorinda Thisbe and the Fairy Queen. unknown
1976réf. 100846New York April 19 1976. 1976. Fine. - Over 60 words typed on 10-1/2 inch high by 7-1/4 inch wide "MET: Metropolitan Opera Association Lincoln Center" stationery. The executive director of the Metropolitan Opera Anthony Bliss replies to City Center's former producer and director Jean Dalrymple's suggestion that she could be helpful to City Center again in managing the four ballet companies associated with the MET "Regardless of what kind of arrangements we may make on behalf of the ballet companies we certainly will want to get the benefit of your ideas and experience." Signed "Tony". Folded for mailing else fine. Together with the retained copy of Jean Dalrymple's letter of April 6 1976. The executive director of the Metropolitan Opera Anthony A. Bliss 1913-1991 gave up his law practice in 1974 to take over what was then a financially troubled organization. He co-operated with music director & chief conductor James Levine and the director of production John Dexter in the early 1980's. Bliss was also co-chairman of the Joffrey Ballet. Though tall and distinctive looking his wife Sally described him as "the most unsophisticated man I ever met. I pick out his clothes." and elaborated by saying "He has no gourmet instincts: I could feed him a can of Alpo." With a sense of humor Bliss then started keeping a can of dog food on his desk. President Lyndon Johnson appointed Bliss to the original National Council on the Arts. The recipient Jean Dalrymple 1902-1998 was the dynamic producer and director of theater and light-opera at Manhattan's City Center. Dalrymple began her career in Vaudeville appearing with James Cagney and Carey Grant in the early 1930s. She was a founding member of the American Theatre Wing the theatre service organization. She worked over the years as a personal manager for the likes of Leopold Stokowski Mary Martin Jos Iturbi Andre Kostalanetz Nathan Milstein and Lily Pons. She began her work at City Center with its founding in 1943 serving as a board member and publicist. Her productions there from the 1940s through the 1960s were a revitalizing influence on the whole New York theatre scene. In 1951 Jean Dalrymple married Major-General Philip deWitt Ginder commander of the Thunderbirds in Korea. She was a friend to Presidents and entertainment personalities throughout the world. New York, April 19, 1976. hardcover
réf. 1331568773.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1925réf. 111876Unknown. Very Good with No dust jacket as issued. 1925. Photograph. Photos are nice and clear but there is some soiling. Please Note: These are old photos whch have not been kept in albums and therefore have edgewear. ; approx 9 x 12; One photo is a portrait o Mr. Russell another of Russell and Marion his wife greeting an actress at the train one with family in Bourbonnais Il one with his grandchild in later years and finally a photo of the new box office of the Civic Opera House in Chicago where he later became manager. . Unknown unknown
réf. 0666314969.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 0656311959.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 0366446746.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 0365109967.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 0266725635.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 0364798262.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 025980990X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1786réf. 020464Valentiae Edetanorum Valencia Spain: Ex Praelo Josephi et Thomae de Orga 1786. Second Edition. Leather. Acceptable. 0x0x0. VINNIUS CASTIGATUS atque ad usum tironum Hispanorum accomodatus: in quorum gratiam Hispaniae leges opportunioribus locis traduntur. Volume 1 Tomus Primus Only. Opera Joannis Sala Presbyteri in Valentina Metropolitana praepositi. Editio secunda. Text in Latin. Hardcover bound book. Full Leather 568 pages. Vintage fountain pen ink notes and marginalia also in Latin. frontis engraving. front cover detached. The rear hinge the inside portion of the flexible fold where book cover meets the book spine is split loose or open the rear cover is still attached by the joint the exterior flexible fold where book cover meets book spine. Leather on Leather paste on spine title gold gilt designs on spine. There is rub-through to the corners of the boards but the text block is surprisingly sharp. Punishment of Vinnius; and accommodated for the use of Spanish recruits: in favor of whom the laws of Spain are delivered to more convenient places. OR VINNIUS CASTIGATED; and to the use of the recruits of the Spanish adapted to the: in the grace of Spain the laws of the most appropriate places are given. FREE Media Mail Shipping! Images available for any item just ask. Any images shown next to the listing that have our www.aCastleofBooks.com watermark on them are the exact item you will receive all other images are for reference only. Free delivery confirmation for domestic orders. Books with Author signatures are guaranteed authentic. We understand collectors needs in terms of accurate grading and proper packaging. We stand behind our descriptions 100%. All items will be shipped securely to insure that they arrive in exactly the same condition in which they left. May have small easily erasable pencil markings on first page. Our Packing Slips do not contain any pricing information so you may order items as Gifts or for Dropship without concern. We ship every Monday Wednesday & Friday morning. All items subject to prior sale. Why the odd prices We run a percent discount for our Biblio listings which insures Biblio has our lowest prices online but does give odd change. Ex Praelo Josephi et Thomae de Orga hardcover
réf. 0260572578.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1883réf. 005670New York NY: Metropolitan Printing and Engraving Establishment. Offered is "The Princess of the Canaries: Opera Bouffe in Three Acts and Four Tableaux - Libretto by A. Duru and H. Chivot Music by Charles Lecocq - As Originally Performed for the First Time in America by Mr. Maurice Grau's French Opera Company at the Fifth Avenue Theatre on Monday Evening Sept. 10th 1883" published in 1883 by the Metropolitan Printing and Engraving Establishment out of New York City. A left-stitched soft cover measuring 6-1/2" by 9-7/8" and containing 76 pages including interior paginated pages as well as blue covers. Printed directly following the first performance in the United States by Maurice Grau's French Opera Company at the Fifth Avenue Theatre New York on Monday evening September 10 1883 it contains a list of Characters on the first inside page; the remaining pages contain the complete opera in three acts with dialogue and lyrics no music in both French and English with the French version appearing on the left page and the English version appearing on the right page. The rear cover contains a splendid vintage ad with illustration of "Weber Grand Square and Upright Pianos" "Most Delicate and Impressive Effect". Condition: the front cover is nearly detached but present; narrow chips along outer fold; covers lightly soiled; short closed edge tear and a few corner creases; closed tear to mid-rear cover; interior pages lightly foxed. Exceptionally rare. . Good. Wraps. 1st Edition. 1883. Metropolitan Printing and Engraving Establishment paperback
réf. 002161The Metropolitan Opera Guild. Soft cover. Very Good. Collection of Volume XIII bound in a Spring binder. The Metropolitan Opera Guild paperback
1491réf. 915Terviso or Venice: Michael Manzolus 1491. First Edition with the commentary of Acron and Pomponius Porphyrio. Bound in modern marbled gilt calf. A very large and clean copy with marginal indexing on a few signatures in red others in brown ink. A very Large copy of a very very rare edition of Horace https://data.cerl.org/istc/ih00451000 GW 13457; Goff H451; BMC V 315 IB. 21815; Bod-inc H-203; CIBN H-275. Located copies:The Walters Art Museum Bancroft Library Yale Free Library of Philadelphia Princeton Univ. Brown University Pauline Fore Moffitt Library University of California General Library. The unique charm of Horace's lyric poetry arises from his combination of the metre and style of the distant past—the world of the Archaic Greek lyric poets—with descriptions of his personal experience and the important moments of Roman life. He creates an intermediate space between the real world and the world of his imagination populated with fauns nymphs and other divinities. He denounces corrupt morals praises the integrity of the people of Italy and shows a ruler who carries on his shoulders the burden of power. Other Augustan themes that appear in Horace's lyric verse include the idea of the universal character and eternity of Roman political dominion and the affirmation of the continuity of the republican tradition with the Augustan principate. At some stage Augustus offered Horace the post of his private secretary but the poet declined on the plea of ill health. Not withstanding Augustus did not resent his refusal and indeed their relationship became closer. "Horace's success as a poet can be measured partly by how difficult he is to imitate and translate and by how many admirers have sought to do both. Readers in the Middle Ages looked to Horace as a moralist and as a literary critic and appreciated the Satires and Epistles more than the more difficult Odes. The enthusiasm of the Italian Renaissance poets Petrarch 14th century Landinio and Politian late 15th century for the Odes encouraged the popularity of Horace's lyric. Horace was one of Montaigne's 16th century favorite poets. The themes and poetics of both the lyrics and the satires greatly influenced Ben Jonson late 16th early 17th century Robert Herrick Andrew Marvell Milton and Dryden 17th century. The Odescontinued to be springboards for much of both public and private 17th-century English lyrics. Pope was the leading Horatian poet writing in English during the 18th century the Age of Augustanism especially imitating Horace's hexameter poetry while Alfred Lord Tennyson Matthew Arnold Byron and Rudyard Kipling were among Horace's enthusiasts in the 19th century. Horace continued to inspire modern poets among them Ezra Pound. While the different genres of his work have specific qualities they all share in being Horatian a quality that many have tried to define. In Nietzsche's view Horace's peerless artistry separates him from all other poets. Compared to Horace's Odes "All the rest of poetry becomes in contrast something too popular—a mere garrulity of feelings" "What I owe to the ancients" Twilight of the Idols 1 https://www.poetryfoundation.org/poets/horace . Folio 30 x 20cm Signatures: A8B10C8D4E8F-G6a–q8r6. 184 leaves First Edition of Horace with both of his ancient commentators Acron and Porphyrio. Bound in modern marbled gilt calf. A very large and clean copy with marginal indexing on a few signatures in red others in brown ink. The history of the printing of editions of Horace and his commentators. First printed in Venice about 1471-2 then in Milan about 1475 14761477 Venice again 1478 &1479. The next edition was Leipzig 1492 All of these editions are without commentary. Acron's commentary was Published with out the Opera in Milan in 1479. At Florence in 1482 there is an edition of the Opera with the Landinus commentary then again in Venice 1483-86. The Edition offered here is the FIRST to have the commentary of Helenius Acron and Pomponius Porphyrion who are both said to have flourished in the third century these commentaries are revised by Raphael Rgius ƒl. 1480-1500 and Ludovicus de Strazarolis which make up the first 50 pages of this book. Michael Manzolus
1973réf. 5vDh0006New York: The New York City Opera Guild 1973. Book. Very Good. Spiralbinding Soft Cover. Copyright © 1973. 8vo or 8° Medium Octavo: 7¾" x 9¾" tall. 187 pp. Solidly bound copy with minimal external wear crisp pages and clean text. The New York City Opera Guild Paperback
1929réf. AG20057SELECTIONS FROM REPERTOIRE OF OPERATIC SONGS AND TERPSICHOREAN MELODIES OF MEI LAN-FANG - by Professor Liu T'ien. Hua 梅兰芳歌曲谱 Published in 1929 specially edited and printed for Mei Lan-Fang's performance in the United States. Mei Lan-Fang was invited by America in the winter of 1929 to help the people better understand Chinese Opera the master of Chinese songs Liu Tianhua produced two volumes of books one in Chinese 126pp. and the other in English 118pp. which includes 18 Kunqu Opera with music script and score. Signed and stamped by the Author on the English version 1050 copies printed and only 50 copies were signed this is No. 43 on Chinese art paper 4to matching red silk sewn thread binding with printed gold paper labels very fine condition. 本套书å°åˆ·äºŽ1929年，共分为2册，精装，此书为梅兰芳赴美演出特制，共1050部，其中的50部为æˆåŒ–宣纸å°åˆ¶ï¼Œåˆ—有编å·ï¼Œç¬¬ä¸€å·ä»·æ ¼äº”百美元，二至五åå·ä¸€ç™¾ç¾Žå…ƒï¼Œæ¤å¥—为50部中的第43å·ï¼Œæœ‰åˆ˜å¤©åŽäº²å°å¹¶è‹±æ–‡ç¾å。两套书分别为ä¸è‹±æ–‡ç‰ˆï¼Œå…±æ”¶å½•äº†18æ¡æ˜†æ›²çš„å”±è¯ã€å”±è…”工尺谱和五线谱，历ç»æ•°æœˆå®Œæˆ å“相如新，ä¿å˜å¦‚æ¤å®Œå¥½çš„éžå¸¸å°‘è§ã€‚ paperback
