Ultimately, her hopes are fulfilled in the person of Mandryka, who suddenly appears from Croatia. Written in times of profound social uncertainty after the fall of the Austro-Hungarian Empire and a world economic crisis, the last idealised love match in operatic history is thus also a dance on a volcano.
Arabella will be staged by the internationally celebrated director Robert Carsen, and this decadently fragile parlando opera, which is extremely virtuoso in terms of its composition, will be conducted by General Music Director Fabio Luisi. Fabio Luisi hails from Genoa.
Zudem wirkte er u. Peter van Praet stammt aus Belgien. Walter Hagen-Groll. Dort kam es u. Im Konzert trat sie u. Opern und Konzert sind ihre Schwerpunkte, daneben nehmen Lied und Oratorium einen wichtigen Platz in ihrem Schaffen ein. Weitere Rollen waren u. Konzertant war sie in Mahlers 4. Auf Social Media: juliefuchssoprano. Daran schloss er ein Gesangsstudium bei James Wagner an.
Er hat u. Aleksandra Kubas-Kruk stammt aus Polen. Als Ensemblemitglied der Oper Breslau sang sie u. Sie studierte an der Musikakademie in Basel, wo sie mit dem Solistendiplom abschloss. Log on to www. You will not spend four hours listening to helmeted Rhine Maidens. The story is pure fairy tale fantasy and the whole thing is a little over 90 minutes long, including intermission. The story is the familiar Hansel and Gretel tale with one major difference. The Grimm fairy tale had an evil stepmother plotting the demise of the kids, while this version has a more loving mother who gets angry with the kids but does not want to do them any harm.
Nevertheless there the kids are, lost in the woods and later threatened by a witch whose eating habits are definitely not vegetarian. OK, there is a little holdover from the Grimm fairy tale at Bel Cantanti because while Michelle Rice does a good job as the long suffering mother, she really comes into her own in the second half as the Witch.
Bryan Jackson as the loving father and Kara Morgan as the Sandman do a fine job in supporting roles. Katerina Souvorova does a fine job playing the piano reduction, but this is the one place I wish this was the Washington Opera. But director Debbie Niezgoda keeps the cast moving nicely and gets good acting from all involved, still too much of a rarity in opera productions. McCall and Renfro are particularly good convincing us they are normal children while Rice has a great solo as a mother knowing how poverty is ruining her family. Both have vanished from sight, although Bel Cantanti revived Amahl a few years ago.
Like Amahl, Hansel and Gretel is ideal for a holiday seasonal offering and makes a perfect introduction to opera for children and adults still leery of this art form. The Humperdink work is revived far less often than it should be and definitely worth checking out. Hansel and Gretel continues Saturday afternoons at 3 p. For more information, call or visit their Web site at www.
Reduced to its essence -- no chorus, and with piano, string quartet and onstage trumpeter instead of full orchestra -- the opera didn't seem years old. The comedy burbled and bubbled brightly in a burst of strongly crafted characters. And Artistic Director Katerina Souvorova's pianistic prowess moved it along beautifully. Meghan McCall was just about letter-perfect -- and note-perfect -- as the flirtatious, don't-pin-me-down Adina, her exceptionally pure tone melding with a gift for physical comedy.
Aurelio Dominguez sang plaintively as Nemorino, the rather dim young man who woos her -- unsuccessfully, until he gets help from a phony love potion in a huge plastic bottle that sails past the audience on a zip line. As the phony potion maker Dulcamara, Andrew Adelsberger made a marvelous mountebank, praising his own skill at breakneck speed in Act 1 before realizing in Act 2 that his machinations have met their match in Adina's. The supporting characters held their own. Matt Osifchin was full-voiced and appropriately full of himself as Belcore.
And Jessica Renfro was simply marvelous as Gianetta, with a bright, clear voice and deliciously playful comic timing. Repeat performances are scheduled for Friday at p. No elixir is required to love the production. The mad scene in Donizetti's "Lucia di Lammermoor" is justly famous -- and often parodied, as in Gilbert and Sullivan's "Ruddigore. And it is extremely unfair to rest the weight of this coloratura showpiece on the slender shoulders of a young and developing soprano. Literally rises: The high E-flats in the mad scene are stratospheric. But in "Lucia," soprano and tenor must pace themselves for their final scenes, and McCall grew consistently more self-assured.
So did Yoon Soo Shin as Edgardo, his slightly rough-hewn voice gaining power all the way to his absurdly protracted death aria. As Enrico, Matt Osifchin showed a full, rich baritone but could use more villainous implacability.
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Kwang Kyu Lee was impressively stolid as Raimondo, even when singing seriously about heaven to Donizetti's silly tune. Artistic Director Katerina Souvorova's sure-handed piano playing was well supplemented by string quartet, flute and harp. But this opera belongs to Lucia -- and on Sunday, it belonged to McCall.
Now ensconced in its new home at the Randolph Road Theatre in Silver Spring -- the old Round House Theatre -- the Bel Cantanti opera company is improving the quality of its productions as well as providing a better showcase for the up-and-coming young singers who form the company's core. A case in point is the company's fine production of Gaetano Donizetti's "Lucia di Lammermoor," which opened its two-weekend run Friday.
Making good use of nifty period costumes rented from the Washington National Opera and maximizing the use of some creaky castle steps, Bel Cantanti has produced a surprisingly effective and extraordinarily moving presentation of what may very well be Donizetti's grandest bel canto opera. Set near Edinburgh around , it's the story of a family feud, which comes to a rather bad ending for all. On the brink of bankruptcy, Lord Enrico decides to restore his family's fiscal well-being by arranging a marriage between his sister, Lucia, and the wealthy Lord Arturo.
Unfortunately, Lucia is already in love with Sir Edgardo, whose father has been slain earlier by Enrico. Lucia's wily brother, knowing Edgardo is away on a diplomatic mission, convinces Lucia, by means of a forged letter, that her lover has been unfaithful. She reluctantly gives in to her brother's demand that she marry Arturo, and disaster follows. In the vocally challenging role of Lucia, soprano Meghan McCall was impressive, navigating her way through Donizetti's wicked ornamentation with smooth professionalism, although an occasional high note could have used a bit more hang time.
She astutely underplayed Lucia's famous "Mad Scene," an extended solo that can get a little histrionic. This was a good dramatic choice as it added a great deal of sympathy to her character. As Edgardo, tenor Yoon Soo Shin displayed an astonishingly powerful and convincing instrument. In the developing post-Domingo age, where booming-yet-expressive tenors seem to be a rarity, his career already shows great promise. Baritone Bryan Jackson was also at the top of his game as the evil Enrico, projecting a cold authority with his knife-edged voice and excellent diction.
And as the cleric Raimondo, bass Kwang Kyu Lee's full, rounded tones were as effective in his solo excursions as they were crucial in providing the necessary ballast for the opera's unforgettable sextet. Good singing was the rule in lesser roles as well, and the small but important chorus provided excellent support. Bel Cantanti can't afford a full orchestra, but its primarily string and piano ensemble, directed from the keyboard by the company's general and artistic director Katerina Souvorova, worked quite well with the singers, helping to showcase each voice in the way that a larger production might have missed.
The Embassy of Austria has fittingly chosen to conclude its yearlong celebration of Wolfgang Amadeus Mozart's th birthday with a nifty little production of the composer's ever-popular "Le Nozze di Figaro" "The Marriage of Figaro". Performances of this holiday treat will be repeated there and at other venues over the holiday season by Bel Cantanti, an up-and-coming local troupe boasting fine young singers and budget ticket prices.
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Bel Cantanti accomplishes its surprisingly polished productions with budget sets and sumptuous costuming. But it's the company's talented vocalists who really bring each production alive. Bel Cantanti's current production of "Figaro" rotates two casts of principals. All were impressive. Miss McCall, who seemed a bit understated early in the first act, quickly adjusted to the room's acoustics, blooming into a vivacious and confident Susanna.
Jackson was equally effective as the swaggering trickster Figaro. Osifchin's authoritative bass register made him a count to be reckoned with, while Miss Marchese's rich, burnished voice, imbued the countess' signature Act IV aria with an almost palpable poignancy.
In the non-rotating trouser role of Cherubino, the trouble-causing page, Jessica Renfro was a standout, matching a sparkling voice with a surprising talent for physical comedy. The company's general and artistic director, Katerina Souvorova, accompanied her singers brilliantly on the piano with the assistance of a fine string quartet.
OK, first things first: say it. You know you want to. Figaro, Figaro, Fee-ga-ro. Now then, take note: The libretto at hand does not contain that most famous of operatic riffs, although it does have a main character with that marvelously melodic name: Figaro. There are so many sticky situations people are trying to get out of left and right. I had to play catch up. Born in Birmingham, Ala. I was the liberal arts student with the big voice. Opera house Even though they are highly trained, accomplished and experienced opera singers, McCall and Jackson and many of the other performers in the Bel Cantanti Opera troupe are, well, young.
Back there, she studied piano. So Souvorova started working with singers and coaching them. In the European tradition, she explains, there is always a strong connection between the conservatory and the opera house, and European opera companies are much more prolific than those in the U. But Souvorova, who coaches opera at Catholic University, started Bel Cantanti four years ago to give young artists a place to showcase and to give audiences a taste of classic opera. Every note, every gesture, every expression is delivered up close and personal, albeit in Italian with English surtitles.
Among the details are period costumes from the Washington Opera. The Arts Barn stage is too small for the string quartet that will accompany performances at the Austrian Embassy and at the old Round House Theatre in Silver Spring, but Souvorova will accompany on piano. And McCall and Jackson promise that between the programs, the surtitles and the acting, the audience will completely get the plot, which goes kind of like this:.
Figaro wants to marry Susanna; his boss, the Count, has designs on her, too, which annoys everyone including the Countess Almaviva. But older woman Marcellina has a thing for Figaro, and she gets a wealthy doctor to help her set a snare for him. Music and mayhem ensue, as they say, and after a couple of hours including intermission , everything settles down again.
Second, Bel Cantanti shows how skillfully a major opera can be reduced to its basic musical score and performed without the full elaboration of sets and costumes many now consider essential for any opera performance. Third, Bel Cantanti demonstrates that prices for opera tickets can still be kept at an affordable level, making the cost of a ticket to a live performance fully competitive with the cost of a recorded CD version of the same opera.
Bel Cantanti director Katerina Souvorova created the company in , and herself accompanied the entire Figaro performance as pianist, along with a string quartet. The reduced musical background permitted the voices of the singers in Figaro to shine in the relatively small concert space available at the Embassy of Austria. Bel Cantanti is able to shift the location of its performances among several spaces during the run of each opera, as Figaro will also be performed at the Embassy of Germany and the Randolph Road Theater later in December.
The richness of talent assembled by Bel Cantanti is shown by the fact that each of the four major roles in Figaro Figaro, his wife-top-be Susanna, Count Almaviva and the Countess Almaviva is performed on alternating nights by different singers. Meghan McCall made a superlative Susanna on the opening night, and Bryan Jackson brought to the role of Figaro both a strong voice and a deft comic sense of acting. The "group" arias in Acts III and IV were lovely in their blending of distinctive voices, though Meghan McCall was consistently the most outstanding voice in all combinations.
Jessica Renfro made a continually amusing Cherubino, playing a role in which traditionally a female singer pretends to be a man later pretending to be a woman. Alexader Kugler turned the relatively minor role of Basilio into an important character and should have a career worth watching in the future. This is first class opera performed by budding, local operatic stars. Under director Dr.
In Le Nozze di Figaro , the characters delightfully hide themselves, at times behind a plant or wearing cloaks and hoods or other flimsy disguises. The Count lusts after Susanna and she tells Figaro. So, you get the picture. All of the singers are, in my opinion, ready for the Met. On alternate dates, other talented singers take on the lead roles.
The Bel Cantanti Opera Company can be reached at The sheer youthful ebullience of Mozart's "Marriage of Figaro" too often gets short shrift. Yes, it is a genial and knowing portrait of human frailties and foibles. But Mozart was just 30 when he wrote it in a mere six weeks , and all its major characters are young, so the work is particularly well suited to Bel Cantanti's informal staging and its troupe of talented young singers. On Saturday night at the Austrian Embassy, Danielle Talamantes was a standout as a sassy, pert and very pretty Susanna, with spot-on comic timing.
She was as adept with facial and vocal expressions as she was with the lute in Act 2. Kwang Kyu Lee's rich bass-baritone gave Figaro more weight and bite than usual. David Krohn was a snide, self-centered Count, always in heat or high dudgeon. Amanda Gosier was introspective and genuinely moving as the Countess. Jessica Renfro offered utterly charming naivete as Cherubino. Souvorova, playing piano and harpsichord, kept the pacing fleet, abetted by a fine string quartet. The minimalist sets made up in cleverness what they lacked in elegance.
Repeat performances, at p. Katerina Souvorova's ambitious Bel Cantanti Opera Company, a troupe of young up-and-coming singers, regularly programs two operas and two concerts of arias a year. Now it has found what it hopes will be a permanent home in the Randolph Road Theatre the old Round House Theatre in the Wheaton area, a nice, funky, small stage that should be ideal for the scale of its productions.
As might be expected, these are singers in varied stages of vocal development. Baritone Bryan Jackson projected enormous energy and considerable beauty in everything he touched, and was as compelling as Mephistopheles in "Le veau d'or" from Gounod's Faust as he was contemplative in his duet "Au fond du temple saint" from Bizet's Les Pecheurs de Perles with tenor Kevin Perry who handled several ensemble assignments with assurance.
Soprano Keesun Kwon gave a knock-out reading of the "Bell Song" from Delibes' Lakme ; mezzo Jessica Renfro's Carmen in the "Habanera" aria was convincingly steamy and seductive; and soprano Rhea Walker lavished a warm sound and fine diction on Salome's aria "Il est doux, il est bon" from Massenet's Herodiade. Randa Rouweyha, Emily Ezzie and Cynthia Farbman were at their best in well-rehearsed ensemble numbers, and baritone David Krohn and mezzos Lingling Peng and Alexandra Christoforakis handled their assignments with determination and serious purpose. Souvorova accompanied all that with considerable flair on a small upright piano and managed to sound almost orchestral.
Since moving to America in , the Belarus-born Souvorova has made it her business to produce reasonably priced opera.
She took it a step further in by creating Bel Cantanti Opera, which, since its beginning has presented operas nonstop. No blood, death. While the production is performed in Russian, English subtitles are projected on a screen. Coming to America. American opera is very different from what you would find in Belarus. In this former Soviet Union republic, opera is made for the masses; people from every economic class and age group regularly attend. But first, Souvorova needed to learn English; she attended language classes at the local community college. Soon, she began wandering over to the music department where she made friends with the students.
With a true western-entrepreneur spirit, she hung up her vocal coach shingle. With a gaggle of young tenors and sopranos looking for work, she began producing operas for her fledgling Carnegie Hall stars. It seemed only natural to create Bel Cantanti. In its short life, this nonprofit squeaks along on ticket sales. With many filled houses, Bel Cantanti needs a permanent home.
And if that happens, Souvorova hopes that little by little, her love of opera will become contagious. Opera Bel Cantanti is doing all the things that a small local opera company should. I was sad to miss their winter production, Rachmaninov's Aleko reprised from the previous summer , because it is an opera that I may never have another chance to hear live although OBC may bring it back.
The 13,th production of Don Giovanni, Magic Flute or Il Trovatore usually bores me to tears, unless it has truly superlative singing unlikely for this kind of company or an unusual directorial concept. Imagine characters based on 15th-century French history, set in a fictional story by Danish playwright Henrik Hertz, transformed into a Russian opera by Tchaikovsky on a libretto by his brother Modest. I missed the initial run of performances last month reviewed by the Washington Post , but I was there at the Lyceum in Alexandria on Wednesday night for the first of two encore performances.
The production is simple but elegant enough: bare-bones set pieces and props take back seat in the budget to fairly ornate and colorful costumes. She was joined very briefly by one of the company's trustees -- Kathleen McGhee, who also designed the costumes -- in a minimal part on the harp. Souvorova finds talented singers, many of whom are currently enrolled in or have recently finished graduate studies in the area or are already singing professionally, in one of the region's opera choruses, for example. The chorus of supporting women has some pretty and sometimes complicated music, as well: round-voiced mezzo-soprano Lingling Peng stood out as Iolanta's nurse, Marta, as did the charming Jessica Renfro as her friend Laura.
My only complaint about the singing in this performance was that it could have been scaled better to the scope of the venue. We could hear everything quite clearly without some of the shouting, perhaps driven by Souvorova's athletic and molto martellato approach to much of the score. Let's just say that at times I was glad to be in the back row. The best part of the experience was the discovery of this mostly unknown opera, premiered at St.
Petersburg's Mariinsky Theater during the December holidays in , where it was paired with his fluffy little ballet about a girl who gets a nutcracker for Christmas. The latter, although charming, is performed far too often, while the former practically vanished. Iolanta is not even in the Mariinsky's current repertory.
Tchaikovsky worked on both of these twilight stage works after returning from a happy and successful conducting tour of the United States: he was given the subject for the ballet, which he never liked, but he chose the story of Iolanta. It has some lovely parts, including Iolanta's bittersweet opening aria "Are eyes only for crying?
One of the charms of an evening with Opera Bel Cantanti was revealed when the artistic director herself came down the stairs with a container of salsa that had been forgotten when the modest reception was set up. Katerina Souverova may have baked the cookies, too, which were excellent. By my count, there is a handful of Tchaikovsky operas I have yet to hear. I fully hope to get to know them thanks to Opera Bel Cantanti over the next several years.
Tchaikovsky was happier with his final opera, "Iolanta," than with "The Nutcracker" after the works premiered together on Dec. History disagreed: "Iolanta" is now rarely performed outside Russia. Both the unfairness of the neglect and the reasons for it became clear when the highly creative Bel Cantanti opera company presented the one-act work Sunday at Washington Baptist Church in Bethesda.
Everyone in "Iolanta" is so darn nice to one another that the plot scarcely seems Tchaikovskian. The fairy-tale libretto -- by the composer's brother, Modest, from a Danish play by Henrik Hertz -- is silly even by opera's modest standards of believability. Princess Iolanta, blind from birth, is kept ignorant of her condition by her well-meaning father. A knight, Vaudemont, falls in love with her and makes her desire sight by speaking of God's wonders. Because she wants to see, she gains both vision and love.
This trifle requires at least nine strong singers -- one reason it is rarely staged. Emily Ezzie was a lovely Iolanta: youthful, naive and gentle. Vladimir Ekzarkhov's strong, resonant voice brought real power to the role of King Rene -- and pathos, when he asked God, "If I have sinned, why does my poor angel suffer? His duet with Ezzie was the performance's emotional high point.
Matt Osifchin's tenor was lighter, his acting more impulsive as Robert, Iolanta's original betrothed, who now loves another. Bryan Jackson was a cool-thinking, crafty Ibn-Khakia, the Moorish physician who figures out how Iolanta can learn to see. The brunt of the music was borne by Souvorova, a pianist of considerable talent and endurance. A string quartet intensified the sound. The set was well designed, and the actors used every inch of it.
But there is no truth in "Iolanta" -- only beauty. A star almost blinding in intensity catches the attention of a crippled shepherd boy, who urges his mother to leave their dismal hut to view the gleaming light. With that theme, Gian Carlo Menotti spun an opera -- both music and libretto -- that has won a permanent place as family fare in the Christmas music season. Formed in , Bel Cantanti has remarkably accomplished young soloists. For Amahl, Menotti specified a boy soprano, but Jennifer Weingartner's clear, focused voice filled the bill nicely.
As his mother, soprano Kathleen Sasnett has Wagnerian depth gilded with a mezzo-ish tint. Page Rick Latterell gave luster to his role. Everyone's acting was impressive. And Bel Cantanti devises clever and detailed staging, costuming and sets on a shoestring budget. As usual, director Katerina Souvorova provided superlative piano accompaniment of orchestral dimensions.
There were a few rough spots. If the awkward dancing was meant to be spontaneous, it wasn't obvious. And the unaccompanied chorus of shepherds and villagers needed instrumental support -- a recorder, perhaps -- for intonation problems. The performance repeats at various locations in the District, Maryland and Virginia: Dec. Manuscript, late 18 th or very early 19 th century, 1 f. Free ornamental and virtuoso figures complete this. The cadenza has the exact length Mozart used for his examples.
So our manuscript may be typical of the period from c. Wien: Artaria, pl. Piano part only, title-page with beautiful frame mounted, 85 pp. Hoboken No. In she married a clerk, Johann Bessenig and became a successful pianist. Title-page, 23 pp. The tragical pathos of K. Gluck, cf. The composer said that amongst all his pupils Attwood understood his musical style best. Letters by Thomas Atwood are very scarce on the market. Title-page, 6 pp.
Wybrow in the Volunteer Scene. Attwood thus forms a link between classicism and romanticism. Autograph letter signed, Weimar, 22 September , to the publishing house C. Peters in Leipzig, 1 p. He not only plays the most difficult concertos on the Fortepiano with the greatest skill, but also sight-reads and composes fairly well.
Feudal Times. The Words by G. Coleman the Younger [ Gouyn castle in a lake , 59 pp. Fine modern marbled boards. Kelly had a very successful career, first as a leading tenor of his day, and then as a composer after Feudal Times was first performed on 19 January ; J. Dussek contributed the overture. In Kelly published his Reminiscences which are an important source for the lives of Haydn and Mozart. He was always closely linked to music; in his early career he was music master to the daughters of Louis XV.
A further piece by Beaumarchais, Tarare , is also conceived in operatic idiom, and the author formulated his operatic aesthetic in the introduction demanding a symbiosis of word and music. See other entries in this catalogue. Ephemera of theatrical productions of the 18 th century are scarce. Die Musik ist von Herrn Mozart. Frankfurt, Vulpius for the Frankfurt performance of 11 October In the Annalen des Theaters Berlin, Vulpius strongly protested against pirated and inaccurate editions of this Frankfurt libretto which had since appeared in various German cities.
Die Musik ist von Mozart. Contemporary wrappers. Le Nozze di Figaro. Bonn, Simrock, pl. An extremely rare variant of the first edition of the complete Figaro vocal score, first issued in August In this issue of favourite pieces from the opera, the two finales nos. Our copy contains all other pieces as quoted in the index after p.
RISM quotes 12 copies, all incomplete; the most complete lacks nos. The 5 th issue catalogue is the earliest to introduce an opera performed in and probably printed in ; it may be suggested that issues 1 to 5 all appeared by the end of — a sign of intense demand for this opera. Since the complete vocal score was rather expensive 11 gulden this selected edition 7 gulden was probably welcome to the public. Frey, Successeur de MMrs. Title, Personaggi. Advertisement in a London newspaper, 1 f.
Harrison , Signora Marchesi etc. In , Breitkopf had declined to purchase the estate. In the field of music publishing the years from to c. Complete set of parts: Piano 28 pp. New typeset plates were extremely expensive and therefore their use is unlikely. Si trova da tutti buoni mercanti di Musicali. The first edition of this concerto is one of the rarest in the Mozart canon: indeed, we cannot trace any complete set offered during the last three decades; only a single piano part was offered in DM Constanze dedicated this concerto to Prince Louis Ferdinand of Prussia , himself an excellent pianist and a highly regarded composer.
Complete set of engraved parts: Piano 23 pp. The last page of the violin part shows a Nachricht see ill. Indeed, his edition allows performances in three versions: 1 piano with strings they may play the wind notes printed in small type ; 2 piano with wind instruments this version calls for the additional extra viole part ; 3 piano with full orchestra. Oeuvre Complete set of parts, piano 25 pp. This concerto had been composed in late but remained unpublished until See ill. Hoboken XII, no. Our copy still lacks the price and therefore may be regarded as the only extant copy of an issue which must be earlier than the first issue described by Haberkamp.
Although the condition of this copy is not very good, this is a highly desirable lifetime first edition, all of which have now become very rare. La Grotta di Trofonio. Opera Comica in due Atti. An exceptionally fine and early Artaria edition.
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In contrast to France, Austria as well as Italy and Germany did not have the rule of compulsory publication of a full score in order to obtain the royal privilege and its legal protection for the composer. Therefore, in the other countries operas were spread in manuscript form, thus facilitating individual versions satisfying local needs for opera productions. The Argomento tells us that Salieri composed the work for Laxenburg castle; but the first performance was at the Vienna Burgtheater on 12 October and was a splendid success.
La Grotta had been widely performed in Germany in translation but for Italy G. Palumba and G. Paisiello quickly arranged a version for Naples which is almost a piracy. Their version was already performed in November or December and was a flop. The engraver of the title illustration, Sebastian Mansfeld, was the leading light in Viennese business; he also engraved one famous Mozart portrait as well as the very fine title-page of the cantata Die Maurerfreude K.
Mozart and Salieri first worked together on the occasion of the two one-act productions of Prima la Musica e poi le parole and Der Schauspieldirektor K. Autograph manuscript of a French operatic text referring to the character of Renaud , 1 p. This is an opera about the medieval story of the sorceress Armida, a daughter of the King of Damascus. Paris, P. Bound with, Analyse Critique de Tarare. Ormutz and Paris, Le Pr. This opera had been first performed in Paris with spectacular success under the protection of Chr.
Among other singers he names Kathinka Buchwieser , Anna Milder-Hauptmann , Giuseppe Siboni and Johann Michael Vogl ; due to the very short overlapping of their careers this letter can be dated exactly to the year Lobkowitz is very closely acquainted with these singers and describes them to Salieri in the best light.
Prince Lobkowitz is one of the central figures in Austrian cultural life of the early 19 th century. Documents concerning non-composing leading figures in music history are rare. Hoboken II, 1; not in Hirsch. This is certainly one of the very rarest first editions of any work by Beethoven. During the last thirty years this publication has been offered only once in the trade in December : that copy was bought by Albi Rosenthal and is now offered here.
The autograph of these trios is lost. The first edition therefore is the primary source, and it is considered as the jewel in the crown of every important music collection. Vienna, T. Mollo … No. Complete set of engraved parts, oblong folio. Ownership stamp from the library of Max Kergl. Hoboken II, An extremely rare Beethoven first edition in the earliest issue. Since the autograph is lost, the first edition is the primary source for this work. Her brother- in-law, Prince Carl Lichnowsky, accompanied Mozart during his journey to Berlin in Autograph note, undated [c.
Most of her Beethoven relics were sold to the Berlin state library. Nach dem Originalmanuscripte des Autors herausgegeben. Complete set of lithographed parts, vl. Constapel, p. Apparently he thinks of the incapacity of his colleagues and pupils. This is absurd but not inconceivable. Bolt after V. Kininger; some spots, otherwise a good copy in two volumes vol.
I in half cloth; vol. II still in the original green wrappers slightly disbound. Without the libretto which is said to have been added only to later copies. First edition of the full score of Don Giovanni. Don Giovanni was first performed in Prague on 29 th October , only one day after the completion of the overture. The work spread from Prague very quickly although the early reviews made strong objections for moral reasons. Drama giocoso [ Mainz, Schott, pl. RISM M This edition is based on a translation by H. Schmieder used for the first performanced at Mainz on 3 May The publisher, Bernhard Schott in Mainz, seized the opportunity for the first publication of this opera, among whose subscribers Mozart himself is found.
Sinfonien von Mozart. Sinfonie No. XII ]. Contents: KV Pl. Hirsch III, Nr. The latter is mentioned in the Breitkopf Catalogue of as a work by Leopold Mozart, previously spread only in manuscript form and appearing here as a first edition. Preis 2. Prag: Beym Verfasser. Leipzig, Breitkopfische Buchhandlung [c. Hoboken XI, no, ; not in Hirsch. The titlepage was engraved by Johann Berka in Prague and has been reproduced many times, it includes the Mozart portrait after Leonhard Posch within a fine decorative laurel and instrumental border.
Most Respectfully Dedicated by Permission to H. Title-page and 52, 53, 34, 20, 53, 68 pp. The publisher combined them with several overtures in the following order: I K. The fact that full scores of symphonies and operas did not appear before is an interesting detail in the development of musical practice. In this period audiences and orchestras increased considerably as a consequence of the burgeoning bourgeoisie. The concertmaster, leading the orchestra with his bow, had to cede direction to kapellmeister now, conducting the orchestra with a baton and requiring full scores.
Title-page, , 95, 48 p. Contemporary half-calf with marbled boards and highly decorative label; very slightly rubbed else fine. Dresden, Later cloth-backed boards. Text in Italian and German on opposite pages. This is apparently the first libretto of the opera with German translation. Posch , is one of the most famous of its kind and shows an idealised Mozart obelisk depicting angels with musical instruments, and a trio of putti encircling a codex, paying homage.
And what I like best about Madame Cannabich is that she never attempts to deny it. But many 19 th century dramatists among them H. Erster Band: von Jenner bis Brachmond. Zweiter Band: von Julius bis Dezember. Speier, in der Expedition dieser Zeitung [H. Original boards, spine very worn. Mozart of Vienna performed here in Dresden in many distinguished private houses to boundless applause; his skill at the piano and fortepiano is quite extraordinary - in addition, his amazing ability for sight-reading borders on the unbelievable. He is himself almost unable to play a piece better through practising than he played it at first sight.
He also proved his great mastery at the organ…He is leaving Dresden for Berlin. Erste Sammlung. Erfurt, auf Kosten des Verfassers , BUC, S.