Pergolesi G. BMareMagnum
20 144 résultats
193618 cm, brossura editoriale; pp. 16
Grand in-8 (270x185 mm), demi-basane rouge de l'époque, dos lisse orné de filets dorés (dos éraflé), (6), 68 p. Edition donnée à l’occasion de la reprise de l’oeuvre à l’opéra-comique, le 12 août 1862 sous la direction de M. Perrin. Précédé d'une préface historique sur l'opéra par Albert de La Salle. Contient p. 62, une pièce pour clavecin de Domenici Scarlatti qui devait être interprétée avant le lever du rideau. Cachet à froid de l'éditeur E. Girod et cachet du libraire, Marcel Colombier.
réf. 36224Paris, E. Girod, 1862. Grand in-8 (270x185 mm), demi-basane rouge de l'époque, dos lisse orné de filets dorés (dos éraflé), (6), 68 p.
1944Large duodecimo in light green DJ (white-green spine); 349 p ; 19 cm. In Spanish. || Spanish drama -- 20th century -- History and criticism. || Contents: Galdos -- Benavente -- Valle-Inclan -- Linares Rivas -- Villaespesa -- Morano -- Lope de Vega -- Shakespeare -- Ibsen -- Wilde -- Don Juan.
1841In 16° (15,5x10cm); (6), 39, (1), pp. e 1 c. di tav. fuori testo (incisione xilografica raffigurante la facciata del teatro comunale di Modena). Brossura marmorizzata novecentesca. Esemplare assai raro di questo libretto scritto in occasione dell'inaugurazione del teatro comunale di Modena nel 1841 dal celebre leterato e giornalista modenese Antonio Peretti. Contiene numerose informazioni sulla pianta, la facciata, l'atrio, la platea, il palcoscenico e i servizi del celebre teatro ideato dal celebre architetto Vincenzo Maestri. Esemplare in buone condizioni. Raro.
réf. 222466 October 1913; on letterhead of 55 York Terrace Regent's Park N.W. 2pp 12mo; and 1p 8vo. On a bifolium with the 8vo page written lengthwise across the central pages. In good condition lightly aged and worn. Folded twice. Signed 'Percy Anderson.' According to a pencil note Broadhurst was Beerbohm Tree's 'press agent'. He has received Broadhurst's letter late the same night and begins by informing him that he cannot go to Covent Garden the following day as he will be with a sitter. He continues: 'As I implied to you in my last letter it seems almost impossible for me to give you details of the costumes to be worn in “Joan of Arc.” Period Charles XII of France he reigned from 1403 to 1461. The dresses are of necessity tremendously fantastic & in designing them I have endeavoured to make them historically correct. Therefore what else can I say about them' Were the dresses 'fanciful' it would be easy for Anderson to describe them but 'as it is they must be rather on conventional lines'. He concludes: 'I hate to appear discourteous & if I cld. be of any use to you or to Mr. Eyles I wld. but I think you will readily understand the difficulty'. 6 October 1913; on letterhead of 55 York Terrace, Regent's Park, N.W. unknown
réf. 2224712 March 1912 31 December 1912 and the other two without year; all on letterheads of 55 York Terrace Regent's Park N.W. Total of 7pp 12mo. All in good condition lightly aged and worn. Each folded once. All signed 'Percy Anderson'. ONE: 12 March 1912. Begins: 'Your properties are quite splendid.' He thanks Clarkson and his assistant for the trouble they have taken 'over the “M”'. Ends: 'I thought everything as good as it cd be – I refer to yr work of course'. TWO: 31 December 1912. He thanks him for his 'delightful' card and for 'yr. good wishes & for the tickets you so kindly send me for The Miracle. It was most thoughtful of you.' He ends in the hope that 1913 will be a crowning success you for sic & that you will have a very happy time'. THREE: 19 January no year. He is seeing 'Mr. Simmons' at 11 am the following day and will 'look in' on Clarkson afterwards. He thanks him 'for all the good work' on 'The Country Girl' adding: 'I want you to put all yr “guts” please into the “Ulysses” wigs'. FOUR: 10 September no year. 'It is too kind of you to send me those lovely figs. There's nothing I like better & I am most grateful.' FOUR: 31 December 1912. The recipient William Clarkson was the owner of Clarkson's Wigs Wellington Street London. James Morton in his 'Gangland Soho' 2012 alleges that Clarkson who has a blue plaque to his name at 41-43 Wardour Street was not only a repeated insurance fraudster but a notorious homosexual blackmailer after whom the public lavatory in Dansey Place was named 'Clarkson's Cottage'. RE Anderson & G & S: "The artist and costume designer Percy Anderson 1851-1928 was based in London where he exhibited watercolours at the New Water Colour Society in 1886. He designed costumes for the original productions of the last four Gilbert and Sullivan operas at the Savoy Theatre - The Yeomen of the Guard 1888 The Gondoliers 1889 Utopia Limited 1893 and The Grand Duke 1896 and for several D’Oyly Carte revivals including that for Utopia Limited considered by Rupert D’Oyly Carte in 1926 and but never realised. Given Gilbert’s exacting attitude to his productions it is an accolade to Anderson that he worked with Gilbert on so many including Gilbert and Edward German’s Fallen Fairies 1909 when Gilbert said Anderson: ‘surpassed himself’". 12 March 1912, 31 December [1912], and the other two without year; all on letterheads of 55 York Terrace, Regent's Park, N.W. unknown
1825In 24, pp. 47 + (3b). Qualche lieve spellatura al marg. est. dei p. Bella legatura in p. pl. coeva con cornicetta tip. oro ai p. e fregi al d. Libretto della prima rappresentazione di questo dramma serio scritto da Antonio Peracchi e musicato da Francesco Mireski andato in scena per la prima volta al Teatro S. Agostino di Genova il Carnevale del 1825. Compaiono i nomi degli attori e dei ballerini dei balli composti da Salvatore Scarpa.
Milano, R. Stabilimento Musicale Ricordi, [c. 1870], in-8 piccolo, br. editoriale, pp. 35, [1]. Libretto dell'opera. Mancanze al dorso.
1987réf. RO30320464L'Avant-Scène. 1987. In-4. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 144 pages. Nombreuses photos et illustrations en noir et blanc, dans le texte.. . . . Classification Dewey : 782.1-Théâtre musical, opéra
193018 cm, brossura illustrata; pp. 32, firma alla copertina e al frontespizio
Firenze, Tipografia Galletti [prima metà dell'800], in-8, br. in carta marmorizzata ottocentesca, pp. 28. Contiene i nomi dei cantanti. La prima rappresentazione dell'opera si tenne a Parigi il 24 gennaio 1834.
1899in16° - brossura editoriale - pp. 35 - Musica di Vincenzo Bellini - condizioni ottime
1840In 16, pp. 54. Gora al fr. e al marg. inf. delle prime carte. Timbro di possesso al f. Br. rifatta con carta d'epoca. Libretto dell'opera (parole di C. Pepoli, musica di Vincenzo Bellini).
2006120 pages. Features: Da Vinci Code Tour; The International Law Association comes to Canada; Aerin Lauder - elegance with a twist; Richard Bradshaw - The Canadian Opera Company; and more. Moderate wear. Clean and unmarked. A quality copy of this sumptuous issue. Magazine
194474p. Hardcover Very good condition, edges lightly worn
Chez Duvernois, Paris. 1826. In-8 Carré. Broché. Etat d'usage. Plats abîmés. Dos abîmé. Quelques rousseurs. Plaquette de 56 pages. 2e plat très abîmé. Musique de M. Rifaut. Représ. pour la 1re fois à Paris, sur le Théâtre royal de l'Opéra-comique, par les comédiens ordinaires du roi, le 4 juillet 1826.
1826réf. RO40207118Chez Duvernois, Paris. 1826. In-8. Broché. Etat d'usage, Plats abîmés, Dos abîmé, Quelques rousseurs. Plaquette de 56 pages. 2e plat très abîmé.. . . . Classification Dewey : 782.1-Théâtre musical, opéra
1861Mm 150x230 Volume in copertina rigida coeva, rilegatura in mezza pelle con titolo e fregi in oro al dorso, XXV-771 pagine. Lieve usura da scaffale ai bordi, peraltro volume in condizioni molto buone con legature ben salde. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.
réf. 62128, Antwerpen : J.-E. Buschmann ,, 1972 Gebonden, Hardcover met stofomslag compleet. 90 pag. met illustraties Met handgeschreven opdracht en gesigneerd, gedateerd door Lodewijk De Vocht aan Cecilia van Beirendonck.
réf. 72198Peking China: Peking Opera 200. Presumed first edition/first printing. Hardcover. Fair. Lavishly illustrated including illustrating on otherwise clear plastic. Text in Chinese and English. Cover has slight wear and soiling. Some pages are disbound but present and suitable for framing. Appears complete. Peking opera or Beijing opera is a form of Chinese opera which combines music vocal performance mime dance and acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century. The form was extremely popular in the Qing dynasty court and has come to be regarded as one of the cultural treasures of China. The art form is also preserved in Taiwan Republic of China where it is known as Guójù literally: "National theatre". Peking opera features four main types of performers. With their elaborate and colorful costumes performers are the only focal points on Peking opera's characteristically sparse stage. They use the skills of speech song dance and combat in movements that are symbolic and suggestive rather than realistic. Above all else the skill of performers is evaluated according to the beauty of their movements. Performers also adhere to a variety of stylistic conventions that help audiences navigate the plot of the production. The layers of meaning within each movement must be expressed in time with music. . Melodies include arias fixed-tune melodies and percussion patterns. The repertoire of Peking opera includes over 1400 works which are based on Chinese history folklore and increasingly contemporary life. Types of facial makeup are a special method of makeup in Chinese traditional operas. Since every historical character or characters of a certain type are provided with a particular facial type similar to music scores for singing and playing music such a method of makeup is named "Types of facial makeup". Among all Chinese traditional operas types of facial makeup in Peking Opera have developed into the most systematic and mature one. Historical characters in Chinese traditional Peking Opera are provided with different types of facial makeup. They can reflect the identity status personality and appearance of the characters and therefore can intensify the artistic appeal on stage. As an impressionistic and exaggerated art types of facial makeup in Peking Opera is featured by painting brows eyelids and jowls in various patterns such as bat swallow wing and butterfly wing. Also it is characterized by portraying facial expressions with exaggerated nasal fossas and lipped fossas. The age can be reflected by the height and shape of "Crow's-feet" temperament by the opening and closing of "Chordal furrow" and personality by different patterns of "Glabella furrow". Additionally in the types of facial makeup in Peking Opera there exist some invariable images including white-faced Tsao Tsao and black-faced Bao Zheng. The white-faced image symbolizes wickedness and viciousness while black-faced image stands for equity and selflessness. Due to unchangeable rules in types of facial makeup personalities of a character with certain facial makeup can be seen from the facial colors and figures. As one of the onstage art techniques various types of facial makeup in Peking Opera enable the audience to know a character's personality easily and accordingly get more involved in the appreciation of the performance. Thus types of facial makeup enjoy the fame of "Interior Pictures" which is an extremely crack skill of art exclusively existing in Chinese operas. Patterns of theatrical masks have served as a symbol of China. Nowadays on the market there appear many exquisite and aesthetic commodities and stamps printed with such patterns which are of high appreciating and collecting values. Peking Opera hardcover
réf. 70441Coll. "D'ailleurs", Paris, éd. Phébus, 3 février 1992, EDITION ORIGINALE, in-8, cartonnage souple à rabats éd., couv. ill. coul. sur fond noir éd., 240 pp., bibliographie, table des matières, Bonne biographie du compositeur Ernst Theodor Amadeus, auteur des "contes". Pas courant Très bon état; les tranches sont légèrement salies
Cm. 17,5 x 11; pp. 34; brossura editoriale in carta leggera. Timbro a secco 1-61: è infatti il libretto della prima rappresentazione, tenutasi a Parma. CONDIZIONI BUONE Nomi degli interpreti a stampa.
2019ill., br. Roberta Pedrotti ci guida alla scoperta del mondo del melodramma, della sua storia e dei suoi protagonisti, ma anche dei suoi codici, dei suoi segreti, delle sue tradizioni e dei suoi nuovi orizzonti nel mondo contemporaneo. Pagina dopo pagina prendiamo parte a un viaggio affascinante nelle vicende che hanno caratterizzato la nascita di un'arte capace di rinnovarsi e rimanere viva e attuale dal Seicento fino ai giorni nostri, sempre protesa, come una musa bifronte, fra passato e futuro. È il racconto di artisti come Monteverdi, Vivaldi, Händel, Mozart, Rossini, Bellini, Donizetti, Verdi, Puccini, Wagner, Strauss e Britten, ma è anche una storia di politica, società, arti e tecnologie. Lo sguardo panoramico e a curato dell'autrice, infatti, si arricchisce di approfondimenti, schede e spunti di riflessione che rendono il volume anche un manuale di consultazione, una guida per il mondo dell'opera e dei melomani. Un libro pensato per tutti, per essere semplice ma non superficiale, per accompagnare anche il lettore meno esperto e offrirgli mappa e bussola così da potersi orientare in un universo straordinario, tutto da scoprire. Prefazione di Azio Corghi. Premessa di Francesco Lanzillotta.
2013Alfredo Catalani versus il conterraneo Giacomo Puccini: il volume ricostruisce l'immagine dei due compositori attraverso la stampa coeva, quindi affronta la sfida tra Edgar e Loreley e soprattutto quella tra Manon Lescaut e La Wally. Mostrando come l'«eredità del Wagner» evocata da Catalani giochi un ruolo importante in questa competizione. I due ultimi capitoli indagano possibili rapporti tra La Wally e il Puccini novecentesco della Fanciulla del West. Alfredo Catalani versus his fellow citizen Giacomo Puccini: the volume reconstructs the two composers' biographies through contemporary press, then describes the challenge between Edgar and Loreley and, in more depth, that between Manon Lescaut and La Wally, showing the importance of the «Legacy of Wagner» mentioned by Catalani in this competition. The last two chapters investigate into the possible relationship between La Wally and twentieth century Puccini's opera La fanciulla del West. Centro studi Giacomo Puccini - Premio Rotary 1 cm 17 x 24, x-252 pp. con 2 figg. n.t. a colori.
