20.351 Ergebnisse
Best.-Nr. L7791Théâtre des Champs Elysées, 1930. Plaquette in-4 agrafée. Premier plat illustré par Ivan Bilibine. Programme de la 2 e. saison. Prince Igor, musique de Borodine, avec Féodor Chaliapine dans le rôle du Prince Galitzky. Chorégraphie d'après M. Fokine, avec Alexandra Balachova. Reproductions en couleurs des décors et costume d'après I. Bilibine, contrecollées. Présentation par Charles-Morrice. Présentation de l'Opéra avec de Borodine et distribution des rôles. Nombreuses photographies, publicités, etc. E.O.
1929Best.-Nr. 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
1964Best.-Nr. 632211964 P., Théâtre National de l'Opéra, 1964, in 4° broché, 65 pages et nombreuses publicités.
1964Best.-Nr. 748931964 Paris, 1960, in 4° broché, 80 pages et nombreuses publicités ; couverture en couleurs.
1941Best.-Nr. 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
1924Best.-Nr. 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
1838Best.-Nr. 36247Girard: Naples 1838. Oblong quarto. Contemporary quarter dark brown calf with green textured paper boards decorative dark brown leather label to upper with "Costanza Angelillo" gilt spine in decorative compartments gilt. Occasional secondary pagination. Contains: Pacini Giovanni 1796-1867 Merope Grand Opera . arrangé pour Piano solo. PNs 8867-8879. Ca. 1848. 1f. recto title verso blank 1 list of subscribers as of 24 December 1847 18 numbers in piano score with occasional text. Subscribers include Filippo Angelillo in all likelihood related to Costanza Angelillo owner of the volume. Merope in 3 acts to a libretto by Cammarano after Voltaire was first performed in Naples at the Teatro S Carlo on 25 November 1847. Pacini Saffo . Souvenirs. Choeur de femmes. Musical manuscript. 1f. recto title on light green paper verso blank 6 pp. Donizetti Gaetano 1797-1848 Roberto Devereux . Représenté au théâtre Royal de St. Charles le 28 Octobre 1837 . L'opéra entier . D.2.50. . 1er -2ème cahier. 1f. recto title verso blank 3-19 i blank; 1f. recto title verso blank 18 pp. PNs 3939-3943. Ca. 1838. Donizetti No. 8. Cavatine PN 6045. Ca. 1843. 6 pp. 1f. From Don Pasquale. Donizetti Linda di Chamounix Nouvel opéra . arrangé pour piano solo. 1f. recto title verso blank. Cavatine O luce di quest' anima Ajoutée à Paris pour Mme. Persiani-Tacchinardi et chantée à Naples par Mme. Tadolini. 4 pp. PN 5863; No. 14 Air Final du 2ème Acte de Linda . A consolarmi affrettati Chanté par Mme. Tadolini. 8 pp. PN 5685. Ca. 1840. 2 numbers in total. Donizetti Lucia di Lammermoor. No. 4. Duo chanté par Mme. Tacchinardi et par Duprez. 9-18 pp. PN 3953; Grand opéra . arrangé par piano solo. 1f. recto title verso blank 9-15 i blank pp. PN 3962. Ca. 1838. 2 numbers in total. Verdi Giuseppe 1813-1901 I Due Foscari. No. 14 Choeur d'Introduction Allagioia. 4 pp. PN 6884; No. 2 Cavatine de Jacopo Dal più remoto esilio Chantée à Naples par Fraschini. 10 pp. PN 6875; No. 3 Choeur et Cavatine de Lucrezia Tu al cui sguardo Chantée à Naples par Mme. Bishop. 7 i blank pp. PN 6876; No. 6 Duo de Lucrezia et du Doge Tu pur lo sai Chanté à Naples par Mme. Bishop et Coletti. 9 i blank pp. PN 6879/ Ca. 1845. 4 numbers in total. Verdi Ernani . arrangé pour piano solo. 1f. recto title on light blue paper within decorative border verso blank. No. 12 Suite et Stretta No vendetta. 4 pp. PN 6647; No. 14 Duo final d'Ernani et de Silva Esci a te scegli segimi. 9 i blank pp. PN 6604; No. 15. Air final de Mme. Toldi Se crudele il cor mostrai. 4 pp. PNs 4312 3222; No. 3 Cavatine tyrolienne de Mme. Toldi In questo semplice. 7 i blank pp. PNs 4302 3221. 4 numbers in total. Bellini Vincenzo 1801-1835 I Puritani. No. 18 Duo Il rival salvar tu dei Chanté Par Tamburini et Lablache. 12 pp. PNs 4167 2765. Ca. 1842. 1 number in total. Mercadante Saverio 1795-1870 l Giuramento. . arrangé pour piano solo. 1f. recto title listing the 21 numbers in the opera verso blank No. 4. Quatuor Vicino a chi si adora. 5 i blank pp. PN 4115. Ca. 1847. 1 number in total. Binding very slightly worn rubbed and bumped. Occasional light foxing. A clean wide-margined copy overall. An attractively-bound collection. Naples unknown books
1838Best.-Nr. 36247Girard: Naples 1838. Oblong quarto. Contemporary quarter dark brown calf with green textured paper boards decorative dark brown leather label to upper with "Costanza Angelillo" gilt spine in decorative compartments gilt. Occasional secondary pagination. Contains: Pacini Giovanni 1796-1867 Merope Grand Opera . arrangé pour Piano solo. PNs 8867-8879. Ca. 1848. 1f. recto title verso blank 1 list of subscribers as of 24 December 1847 18 numbers in piano score with occasional text. Subscribers include Filippo Angelillo in all likelihood related to Costanza Angelillo owner of the volume. Merope in 3 acts to a libretto by Cammarano after Voltaire was first performed in Naples at the Teatro S Carlo on 25 November 1847. Pacini Saffo . Souvenirs. Choeur de femmes. Musical manuscript. 1f. recto title on light green paper verso blank 6 pp. Donizetti Gaetano 1797-1848 Roberto Devereux . Représenté au théâtre Royal de St. Charles le 28 Octobre 1837 . L'opéra entier . D.2.50. . 1er -2ème cahier. 1f. recto title verso blank 3-19 i blank; 1f. recto title verso blank 18 pp. PNs 3939-3943. Ca. 1838. Donizetti No. 8. Cavatine PN 6045. Ca. 1843. 6 pp. 1f. From Don Pasquale. Donizetti Linda di Chamounix Nouvel opéra . arrangé pour piano solo. 1f. recto title verso blank. Cavatine O luce di quest' anima Ajoutée à Paris pour Mme. Persiani-Tacchinardi et chantée à Naples par Mme. Tadolini. 4 pp. PN 5863; No. 14 Air Final du 2ème Acte de Linda . A consolarmi affrettati Chanté par Mme. Tadolini. 8 pp. PN 5685. Ca. 1840. 2 numbers in total. Donizetti Lucia di Lammermoor. No. 4. Duo chanté par Mme. Tacchinardi et par Duprez. 9-18 pp. PN 3953; Grand opéra . arrangé par piano solo. 1f. recto title verso blank 9-15 i blank pp. PN 3962. Ca. 1838. 2 numbers in total. Verdi Giuseppe 1813-1901 I Due Foscari. No. 14 Choeur d'Introduction Allagioia. 4 pp. PN 6884; No. 2 Cavatine de Jacopo Dal più remoto esilio Chantée à Naples par Fraschini. 10 pp. PN 6875; No. 3 Choeur et Cavatine de Lucrezia Tu al cui sguardo Chantée à Naples par Mme. Bishop. 7 i blank pp. PN 6876; No. 6 Duo de Lucrezia et du Doge Tu pur lo sai Chanté à Naples par Mme. Bishop et Coletti. 9 i blank pp. PN 6879/ Ca. 1845. 4 numbers in total. Verdi Ernani . arrangé pour piano solo. 1f. recto title on light blue paper within decorative border verso blank. No. 12 Suite et Stretta No vendetta. 4 pp. PN 6647; No. 14 Duo final d'Ernani et de Silva Esci a te scegli segimi. 9 i blank pp. PN 6604; No. 15. Air final de Mme. Toldi Se crudele il cor mostrai. 4 pp. PNs 4312 3222; No. 3 Cavatine tyrolienne de Mme. Toldi In questo semplice. 7 i blank pp. PNs 4302 3221. 4 numbers in total. Bellini Vincenzo 1801-1835 I Puritani. No. 18 Duo Il rival salvar tu dei Chanté Par Tamburini et Lablache. 12 pp. PNs 4167 2765. Ca. 1842. 1 number in total. Mercadante Saverio 1795-1870 l Giuramento. . arrangé pour piano solo. 1f. recto title listing the 21 numbers in the opera verso blank No. 4. Quatuor Vicino a chi si adora. 5 i blank pp. PN 4115. Ca. 1847. 1 number in total. Binding very slightly worn rubbed and bumped. Occasional light foxing. A clean wide-margined copy overall. An attractively-bound collection. Naples unknown
Best.-Nr. 30832Executed in ink pencil gouache and silver paint on wove paper. Unsigned but with monogrammatic handstamp to lower left corner. With annotations in ink in Russian relative to various parts of the costume. 13.125" x 8.75" 332 x 222 mm. Slightly worn and soiled; some edge tears and repairs; upper right corner with erasure resulting in minor paper loss. Korovine designed costumes for productions of Russian operas including Borodin's Prince Igor Mussorgsky's Khovanshchina and Rimsky-Korsakov's Sadko and Le Coq d'Or. "Konstantine Korovine is one of the most famous of Russia's twentieth-century stage designers . He made his debut as a theatrical painter in 1885 when he executed the sets and costumes for the production of Snegurochka at Savva Mamontov's Private Opera after Vasnetsov's designs and thereafter he emerged rapidly as an independent stage designer - decorating according to one souce 80 operas 37 ballets and 17 dramas during his lifetime. Korovine brought to the Russian stage a vibrancy and richness that was lacking in the traditional Imperial theaters . He felt more at ease when called upon to design operas and ballets treating of Russian history and legend such as Prince Igor Sadko and The Golden Cockerel and he designed sets and costumes for such spectacles at home and abroad." Bowlt: Russian Stage Design Scenic Innovation 1900-1930 from the Collection of Mr. & Mrs. Nikita D. Lobanov-Rostovsky pp. 175-176. Provenance: MacDougall Arts Ltd. London auction June 9 2011 lot 413 catalogue p. 17. unknown books
Best.-Nr. 41573Oblong folio. Contemporary leather-backed marbled boards. In a single hand throughout. 1 Orlandini Giuseppe Maria 1676-1760 Duetto a due voci Bassi Musique d'Orlandi. 19 i blank pp. With text commencing "Perchè hà detto mio padrone." From Pergolesi's La serva padrona "The large number and wide spread of performances of his operas confirm the opinions of Burney La Borde Martini and Quadrio that Orlandini was highly celebrated as a composer of dramatic music. He was best known for his comic intermezzos in which genre his importance almost certainly outweighs that of Pergolesi." John Walter Hill and Francesco Giuntini in Grove Music Online 2 Curcio Giuseppe Maria 1752-1832 Di marte la Tromba. Duo di G. Curcio. For Zulema and Gonsalvo. 13 pp. With text commencing "Zulema e dunque in vano t'ho salvato o Zamoro." From Zulema first performed in Naples at the Teatro San Carlo on 13 August 1797. "Curcio composed operas for Naples Florence Rome and other cities and librettos from 1797 onwards indicate that he was a member of the Florence Accademia degli Armonici." Ugo Gironacci in Grove Music Online 3 Nicolini Giuseppe 1762-1842 Duetto del Opera il Coriolano. 25 pp. With text commencing "Fra i perigli onor mi chiama." From Coriolano first performed in Vienna no date and in Milan and Turin in 1808. "For about 20 years principally between 1811 and 1820 Nicolini could count on an enormous public even outside Italy who exalted him to the level of the most celebrated masters. In 1807 in Rome his Traiano in Dacia starring the castrato Velluti defeated Cimarosa's much-loved classic Gli Orazi ed i Curiazi in a contest for popular favour. His operas were performed by the best virtuosos of the time including besides Velluti Bonoldi Pasta Pisaroni and the young Catalani." Andrea Lanza in Grove Music Online 4 Catrufo Giosefo 1771-1851 Duo de l'Intrigue au Chateau Musique de Catrufo. 9 i blank pp. For Lorange and Florville. With text commencing "Vous jurez de rester fidele." From L'Intrigue au Chateau. "Known chiefly for his stage works . Catrufo followed closely in the footsteps of the opéra comique composers of the beginning of the 19th century. He possessed a fresh melodic inspiration and a spontaneous popular and simple style." Francesco Bussi in Grove Music Online 5 Gluck Christoph Willibald Ritter von 1714-1787 Scene & Duo d'Iphigénie en Tauride. 1f. recto title verso blank 7 i blank pp. For Oreste and Pylade. With text commencing "O moment trop heureuse!" From Iphigénie en Tauride. Tragédie in four acts by Christoph Willibald Ritter von Gluck to a libretto by Nicolas-François Guillard after Guymond de la Touche's Iphigénie en Tauride itself based on Euripides was first performed in Paris at the Opéra on 18 May 1779. 6 Berton Henri-Montan 1767-1844 Duo de Françoise de Foix. 1f. recto title verso blank 12 pp. 1f. blank. For Françoise and the King. With text commencing "Jamais l'ars ne fut mon partage." Françoise de Foix first performed in Paris at the Opéra Comique on 28 January 1809 was the "last really popular work" of this French composer teacher and writer. David Charlton in Grove Music Online With manuscript index to verso of front free endpaper listing 5 additional works not part of the present volume. Binding worn rubbed and bumped; spine lacking; upper board detached. Minor internal wear browning and showthrough; front endpaper and first 4 leaves detached. unknown books
Best.-Nr. 41573Oblong folio. Contemporary leather-backed marbled boards. In a single hand throughout. 1 Orlandini Giuseppe Maria 1676-1760 Duetto a due voci Bassi Musique d'Orlandi. 19 i blank pp. With text commencing "Perchè hà detto mio padrone." From Pergolesi's La serva padrona "The large number and wide spread of performances of his operas confirm the opinions of Burney La Borde Martini and Quadrio that Orlandini was highly celebrated as a composer of dramatic music. He was best known for his comic intermezzos in which genre his importance almost certainly outweighs that of Pergolesi." John Walter Hill and Francesco Giuntini in Grove Music Online 2 Curcio Giuseppe Maria 1752-1832 Di marte la Tromba. Duo di G. Curcio. For Zulema and Gonsalvo. 13 pp. With text commencing "Zulema e dunque in vano t'ho salvato o Zamoro." From Zulema first performed in Naples at the Teatro San Carlo on 13 August 1797. "Curcio composed operas for Naples Florence Rome and other cities and librettos from 1797 onwards indicate that he was a member of the Florence Accademia degli Armonici." Ugo Gironacci in Grove Music Online 3 Nicolini Giuseppe 1762-1842 Duetto del Opera il Coriolano. 25 pp. With text commencing "Fra i perigli onor mi chiama." From Coriolano first performed in Vienna no date and in Milan and Turin in 1808. "For about 20 years principally between 1811 and 1820 Nicolini could count on an enormous public even outside Italy who exalted him to the level of the most celebrated masters. In 1807 in Rome his Traiano in Dacia starring the castrato Velluti defeated Cimarosa's much-loved classic Gli Orazi ed i Curiazi in a contest for popular favour. His operas were performed by the best virtuosos of the time including besides Velluti Bonoldi Pasta Pisaroni and the young Catalani." Andrea Lanza in Grove Music Online 4 Catrufo Giosefo 1771-1851 Duo de l'Intrigue au Chateau Musique de Catrufo. 9 i blank pp. For Lorange and Florville. With text commencing "Vous jurez de rester fidele." From L'Intrigue au Chateau. "Known chiefly for his stage works . Catrufo followed closely in the footsteps of the opéra comique composers of the beginning of the 19th century. He possessed a fresh melodic inspiration and a spontaneous popular and simple style." Francesco Bussi in Grove Music Online 5 Gluck Christoph Willibald Ritter von 1714-1787 Scene & Duo d'Iphigénie en Tauride. 1f. recto title verso blank 7 i blank pp. For Oreste and Pylade. With text commencing "O moment trop heureuse!" From Iphigénie en Tauride. Tragédie in four acts by Christoph Willibald Ritter von Gluck to a libretto by Nicolas-François Guillard after Guymond de la Touche's Iphigénie en Tauride itself based on Euripides was first performed in Paris at the Opéra on 18 May 1779. 6 Berton Henri-Montan 1767-1844 Duo de Françoise de Foix. 1f. recto title verso blank 12 pp. 1f. blank. For Françoise and the King. With text commencing "Jamais l'ars ne fut mon partage." Françoise de Foix first performed in Paris at the Opéra Comique on 28 January 1809 was the "last really popular work" of this French composer teacher and writer. David Charlton in Grove Music Online With manuscript index to verso of front free endpaper listing 5 additional works not part of the present volume. Binding worn rubbed and bumped; spine lacking; upper board detached. Minor internal wear browning and showthrough; front endpaper and first 4 leaves detached. unknown
Best.-Nr. 30832Executed in ink pencil gouache and silver paint on wove paper. Unsigned but with monogrammatic handstamp to lower left corner. With annotations in ink in Russian relative to various parts of the costume. 13.125" x 8.75" 332 x 222 mm. Slightly worn and soiled; some edge tears and repairs; upper right corner with erasure resulting in minor paper loss. Korovine designed costumes for productions of Russian operas including Borodin's Prince Igor Mussorgsky's Khovanshchina and Rimsky-Korsakov's Sadko and Le Coq d'Or. "Konstantine Korovine is one of the most famous of Russia's twentieth-century stage designers . He made his debut as a theatrical painter in 1885 when he executed the sets and costumes for the production of Snegurochka at Savva Mamontov's Private Opera after Vasnetsov's designs and thereafter he emerged rapidly as an independent stage designer - decorating according to one souce 80 operas 37 ballets and 17 dramas during his lifetime. Korovine brought to the Russian stage a vibrancy and richness that was lacking in the traditional Imperial theaters . He felt more at ease when called upon to design operas and ballets treating of Russian history and legend such as Prince Igor Sadko and The Golden Cockerel and he designed sets and costumes for such spectacles at home and abroad." Bowlt: Russian Stage Design Scenic Innovation 1900-1930 from the Collection of Mr. & Mrs. Nikita D. Lobanov-Rostovsky pp. 175-176. Provenance: MacDougall Arts Ltd. London auction June 9 2011 lot 413 catalogue p. 17. unknown
Best.-Nr. 593968Paris, Choudens fils, s.d. (fin XIXe). In-4, rel. de l'ép. plein maroquin vert, dos à 5 nerfs, titre doré, double encadrement à froid sur les plats, dentelle intérieure ; titre illustré, 202 pp. de musique.
1873Best.-Nr. 360111873. GOUNOD Faust. Opera 5 felvonásban. Göthe Után irták Barbier Gyula és Carré Mih. Forditotta Ormai. Zenéje Gounod Károlytól. Pest: Nyomatott Emich Gusztáv 1864. Octavo. Plain dark pink wrappers. 35 pp. Faust was Performed in Hungary for the first time on 2 September 1863. MEYERBEER Proféta. Nagy opera öt felvonásban. Irta Scribe. Forditotta Egressy Bèni ès Szerdahelyi. Zenéjét szerzé Meyerbeer. Pest: Nyomatott Herz Jánosnál 1856. Octavo. Plain light green wrappers. 3 pp. Le Prophete was performed in Hungary for the first time on 11 June 1850. MEYERBEER Hugonotok. Nagy opera öt felvonásban. Irta Scribe. Forditotta Nádaskai Lajos. Zenéjét Mayerbeer!. Pesten: Nyomatott Lukács Lászlónál 1852. Octavo. Plain ivory wrappers. 48 pp. Les Huguenots was performed in Hungary for the first time on 6 November 1852. THOMAS Mignon. Regényes dalmü 3 felvonásban. Göthe "Meister Vilmos Tanuló Évei" czimü regénye után irták Carré es Barbier. Forditotta Ormai Ferencz. Zenejét szerzé Thomas Ambrus. Pest: Kiadja Pfiefer Ferdinand 1873. Octavo. Original publisher's light blue wrappers with titling within decorative border. 36 pp. Mignon was performed in Hungary for the first time on 20 September 1873. WAGNER Tannhäuser; és a Wartburgi Dalnok Verseny Regényes dalmü 3 felvonásban. Szövegét s zenéjét irta Wagner Richard. Magyarra forditotta Ãbrányi Kornél. Pest: Kiadja Pfiefer Ferdinánd 1871. Octavo. Original publisher's light blue wrappers with titling within decorative border. 20 pp. Tannhäuser was performed in Hungary for the first time on 11 March 1871. Wrappers slightly worn and soiled. Some browning and foxing. From the first or early performances of these operas in Hungary. unknown books
Best.-Nr. 29868Image size ca. 212 x 142 mm. sheet size 321 x 190 mm. The design depicts a man dressed in an exotic Egyptian costume deocrated with numerous armlets anklets necklace earrings headdress etc. Executed in watercolour and gold paint on heavy wove paper. Slightly worn; browning to outer edges from old mat; remnants of mounting paper to verso. unknown books
1873Best.-Nr. 360111873. GOUNOD Faust. Opera 5 felvonásban. Göthe Után irták Barbier Gyula és Carré Mih. Forditotta Ormai. Zenéje Gounod Károlytól. Pest: Nyomatott Emich Gusztáv 1864. Octavo. Plain dark pink wrappers. 35 pp. Faust was Performed in Hungary for the first time on 2 September 1863. MEYERBEER Proféta. Nagy opera öt felvonásban. Irta Scribe. Forditotta Egressy Bèni ès Szerdahelyi. Zenéjét szerzé Meyerbeer. Pest: Nyomatott Herz Jánosnál 1856. Octavo. Plain light green wrappers. 3 pp. Le Prophete was performed in Hungary for the first time on 11 June 1850. MEYERBEER Hugonotok. Nagy opera öt felvonásban. Irta Scribe. Forditotta Nádaskai Lajos. Zenéjét Mayerbeer!. Pesten: Nyomatott Lukács Lászlónál 1852. Octavo. Plain ivory wrappers. 48 pp. Les Huguenots was performed in Hungary for the first time on 6 November 1852. THOMAS Mignon. Regényes dalmü 3 felvonásban. Göthe "Meister Vilmos Tanuló Évei" czimü regénye után irták Carré es Barbier. Forditotta Ormai Ferencz. Zenejét szerzé Thomas Ambrus. Pest: Kiadja Pfiefer Ferdinand 1873. Octavo. Original publisher's light blue wrappers with titling within decorative border. 36 pp. Mignon was performed in Hungary for the first time on 20 September 1873. WAGNER Tannhäuser; és a Wartburgi Dalnok Verseny Regényes dalmü 3 felvonásban. Szövegét s zenéjét irta Wagner Richard. Magyarra forditotta Ãbrányi Kornél. Pest: Kiadja Pfiefer Ferdinánd 1871. Octavo. Original publisher's light blue wrappers with titling within decorative border. 20 pp. Tannhäuser was performed in Hungary for the first time on 11 March 1871. Wrappers slightly worn and soiled. Some browning and foxing. From the first or early performances of these operas in Hungary. unknown
Best.-Nr. 29868Image size ca. 212 x 142 mm. sheet size 321 x 190 mm. The design depicts a man dressed in an exotic Egyptian costume deocrated with numerous armlets anklets necklace earrings headdress etc. Executed in watercolour and gold paint on heavy wove paper. Slightly worn; browning to outer edges from old mat; remnants of mounting paper to verso. unknown
Best.-Nr. 8772CAHIERS DE LA COMPAGNIE RENAUD-BARRAULT, N° 24, Julliard, novembre 1958. In-12, broché.
1817Best.-Nr. 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
1817Best.-Nr. AQ35159London: s.n. 1817. Single leaf broadside. Browned with staining and chipping to edges and some loss to upper right corner. An apparently unrecorded playbill displaying 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 The Persian Hunters or the Rose of Gurgistan a comic opera featuring music by English composer Charles Edward Horn 1786-1849. 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. . Dimensions. [s.n.] unknown
Best.-Nr. R1166-013Original paper binding on yellow paper some discoloration and folds but further in good condition. Songtext printed on paper 16 x 10 cm.Klassik Stitung Weimar. Herzogin Anna Amalia Bibliothek dates this song at around 1881 in Worldcat catalogue.Liedtekst - Songtext - Song - Lied - Opera Faust unknown
Best.-Nr. 564618Firenze, Leo S. Olschki, 1952. Grand in-8 carré, rel. d'éditeur toile bordeaux titrée en doré, sous étui cartonné, XXIV-652 pp. (Biblioteca di Bibliografia Italiana -Supplementi Periodici a la Bibliofilia, XXIII). Exemplaire numéroté.
Best.-Nr. 564385A Paris, Chez Naderman, 152 et 157 (Ecrit par Ribière), s.d. [ca 1785] 2 sonates de ce musicien réunies en un vol. In-folio, cartonnage de l'époque bleu, marbré, étiquette de titre manuscrite "Accompagnement de Basse, pour deux oeuvres de Sonates de Kozeluch", 14 pages texte et musique gravés, partitions pour violoncelle, Sonata 1.
Best.-Nr. 45435P., Gennequin, 1877, in 4° relié demi-basane verte, dos lisse orné, 208 pages de partitions et 108 pages ; quelques rousseurs ; des défauts à la reliure.
Best.-Nr. 201900886S.l., Gerard billaudot editeur, 1971 ; in-8, 301 pp., br.