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Il Trovatore Dramma in quattro parti, Poesia di Salvatore Cammarano Prix net 12f [Piano-vocal score]
Paris: Léon Escudier [PN 1445], 1854. First complete French edition with Italian text. Hopkinson 54A(k). First performed in Rome at the Teatro Apollo on January 19, 1853 to a libretto by Salvadore Cammarano (with additions by Leone Emanuele Bardare) after Antonio García Gutiérrez's play El trovador, and in a revised version as Le trouvère in Paris at the Opéra on January 12, 1857. "Il trovatore, though without doubt one of the two or three most popular Verdi operas, has until recently fared rather badly with critics and commentators, mostly because of its unabashedly formalistic exterior in comparison with the works on either side of it, Rigoletto and La traviata. This attitude at last shows signs of changing, perhaps as our criteria for judging Verdi's musical dramas alter with time. Indeed, many of the most important stages in the critical rehabilitation of this opera have concentrated attention on just those aspects that were earlier castigated. The libretto, for example, with its immovable character types and 'unrealistic' stage action, has recently been seen as one of the work's great strengths, its economy of dramatic means and immediacy of language forming the perfect basis on which to build Verdian musical drama. Similarly, the extreme formalism of the musical language has been seen as serving to concentrate and define the various stages of the drama, above all channelling them into those key confrontations that mark its inexorable progress." "But if one trait can be singled out that best accounts for the opera's success, it is probably the sheer musical energy apparent in all the numbers. Time and again we find a relentless rhythmic propulsion in the accompaniment, and a tendency for the melodic lines to be forced into a restrictive compass, freeing themselves rarely but with consequent explosive power. This internal energy often runs through entire numbers, making a sense of progress across the various formal stages - from arioso to cantabile to cabaletta - that is just as convincing as the more radical, 'external' experiments with form encountered in the surrounding operas." Roger Parker in Grove Music Online.. Large octavo. Full mid-tan suede with decorative blindstamping to edges of boards, dark brown leather title labels gilt to spine. 1f. (recto title, verso blank), 1f. (recto blank, verso contents), 256 pp. Title lithographed, music engraved. Former owner's signature ([?C] Alexander) to upper inner corner of title with additional signature at upper margin crossed out; small publisher's facsimile handstamp to lower outer corner. Binding slightly worn, rubbed, and bumped; endpapers browned, foxed, and stained; upper hinge split. Slightly worn; occasional minor foxing and staining; scattered pencilled annotations; several upper corners slightly creased; some signatures slightly split; lower portion of final leaves slightly dampstained.
      [Bookseller: J & J Lubrano Music Antiquarians LLC]
Last Found On: 2018-01-07           Check availability:      Biblio    


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