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[K 492]. Le Nozze di Figaro Dramma Giocoso in Quattro Atti... Prix 48f. [Full score]
Paris: Magasin de Musique [PN s566, 1-4], [1806-1809]. 2 volumes. Folio. 19th century quarter mottled calf with marbled boards, Act I: 1f. (recto title, verso blank), 1f. (recto table of contents, verso blank), [1] (named cast list), 2-129, [i] (blank); Act II: 186; Act III: 116, [1] (blank); Act IV: [1] (blank), 2-127, [1] (blank) pp. Engraved. Text in Italian and French. Named cast includes Bianchi as Almaviva, Signora Barilli as La Contessa, Signor Barilli as Figaro, Crespi-Bianchi as Susanna, Capra as Cherubino, Tarulli as Bartolo, Sevesti as Marcellina, Zardi as Basilio, Carmanini as Antonio, R*** as Barbarina, and Lupi as Don Curzio. Plate mark to first act "566" with "1" below; to second act "A.2.566," to third act "566.3," and to fourth act "566.4." With somewhat curious early manuscript note laid in relative to the text of Aria no. 10, Non piu andrai farfallone amoroso, stating "Si pongano le sole parole Italiane," but printed text is in both Italian and French to this particular aria, as it is throughout. Binding somewhat worn and scuffed; head and tail of spine frayed and partially lacking. Slightly worn; moderately browned; occasional stains and marginal tears; some signatures split with affected leaves partially detached; small wax stain to p. 79; very small binder's stab holes to upper inner blank margins throughout; 20th century owner's signature in blue ink to upper margin of title. First Edition, first issue, with number "366" at foot of title and printed price of "48f." Fuld p. 353. Hirsch IV, 98. Not in Hoboken. RISM M4339. While Köchel (8) p. 545 cites the first edition as having been published in 1795 by Imbault, there are no known copies of this; it would thus appear to be a "ghost" (a citation for which there is no recorded copy). First performed in Vienna at the Burgtheater on May 1, 1786, with libretto by Lorenzo da Ponte after Beaumarchais. "Figaro is generally agreed to be the most perfect and least problematic of Mozart's great operas... In the great finales of Acts 2 and 4, Mozart reached a level which he could never surpass; indeed, he was hardly to equal the Bb Allegro of the second act finale for its mercurial motivic play and the subsequent Andante in 6/8 for the synchronization of dramatic revelation with the demands of musical form." Julian Ruston in Grove Opera Vol. 3, p. 634.
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