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Verdi, Giuseppe. (1813-1901). Un Ballo in Maschera, Melodramma Tragico in Tre Atti [Vocal Score]. Milan: Stabilimento Nazionale. Tito di Gio. Ricordi. [1860]. First edition, first issue. 323 pp. Oblong folio (25 x 35cms), engraved music. [PN] A31034A to M31059M, each number paginated and priced separately. Title within an orange-red decorated border, additional lithographed pictorial title by Tersaghi [after Focosi], illustrating the final ball-scene, index and cast-list. Contemporary full green leather, gilt stamped on cover and spine. Nicely rebacked, with early ownership inscription on first free endpage, otherwise very good. Hopkinson 59A (a); Chusid p.31.
This is the first issue of this opera, without the Royal Arms of Savoy in the imprint on the title (these were added on later issues). Un ballo in maschera was the last Verdi opera to be issued in the traditional oblong format and with the numbers individually priced and paginated. The copy in the British Library lacks the final leaf.
Composed to the libretto by Antonio Somma (after the play "Gustave III" by Eugene Scribe), the opera was first performed at the Teatro Apollo in Rome on February 17, 1859. Verdi had intended it for production at the San Carlo in Naples in fulfilment of his contract with the management, but the authorities there "insisted on the transformation of the original Gustavus III of Sweden into an imaginary Earl of Warwick and the locale of this fantastic and bloody melodrama to the Puritan city of Boston in New England! It was during the popular demonstrations attending the preparation of this opera that crowds in front of his hotel shouted "Viva Verdi " - a cry of double meaning, for the letters of the composer's name formed the initials of "Vittorio Emanuele Re D'Italia," and thus he came to be identified with the cause of Italian national unity as a symbol." (Grout, "A Short History of Opera. p. 365)
This is the first issue of this opera, without the Royal Arms of Savoy in the imprint on the title (these were added on later issues). Un ballo in maschera was the last Verdi opera to be issued in the traditional oblong format and with the numbers individually priced and paginated. The copy in the British Library lacks the final leaf.
Composed to the libretto by Antonio Somma (after the play "Gustave III" by Eugene Scribe), the opera was first performed at the Teatro Apollo in Rome on February 17, 1859. Verdi had intended it for production at the San Carlo in Naples in fulfilment of his contract with the management, but the authorities there "insisted on the transformation of the original Gustavus III of Sweden into an imaginary Earl of Warwick and the locale of this fantastic and bloody melodrama to the Puritan city of Boston in New England! It was during the popular demonstrations attending the preparation of this opera that crowds in front of his hotel shouted "Viva Verdi " - a cry of double meaning, for the letters of the composer's name formed the initials of "Vittorio Emanuele Re D'Italia," and thus he came to be identified with the cause of Italian national unity as a symbol." (Grout, "A Short History of Opera. p. 365)
Verdi, Giuseppe. (1813-1901). Un Ballo in Maschera, Melodramma Tragico in Tre Atti [Vocal Score]. Milan: Stabilimento Nazionale. Tito di Gio. Ricordi. [1860]. First edition, first issue. 323 pp. Oblong folio (25 x 35cms), engraved music. [PN] A31034A to M31059M, each number paginated and priced separately. Title within an orange-red decorated border, additional lithographed pictorial title by Tersaghi [after Focosi], illustrating the final ball-scene, index and cast-list. Contemporary full green leather, gilt stamped on cover and spine. Nicely rebacked, with early ownership inscription on first free endpage, otherwise very good. Hopkinson 59A (a); Chusid p.31.
This is the first issue of this opera, without the Royal Arms of Savoy in the imprint on the title (these were added on later issues). Un ballo in maschera was the last Verdi opera to be issued in the traditional oblong format and with the numbers individually priced and paginated. The copy in the British Library lacks the final leaf.
Composed to the libretto by Antonio Somma (after the play "Gustave III" by Eugene Scribe), the opera was first performed at the Teatro Apollo in Rome on February 17, 1859. Verdi had intended it for production at the San Carlo in Naples in fulfilment of his contract with the management, but the authorities there "insisted on the transformation of the original Gustavus III of Sweden into an imaginary Earl of Warwick and the locale of this fantastic and bloody melodrama to the Puritan city of Boston in New England! It was during the popular demonstrations attending the preparation of this opera that crowds in front of his hotel shouted "Viva Verdi " - a cry of double meaning, for the letters of the composer's name formed the initials of "Vittorio Emanuele Re D'Italia," and thus he came to be identified with the cause of Italian national unity as a symbol." (Grout, "A Short History of Opera. p. 365)
This is the first issue of this opera, without the Royal Arms of Savoy in the imprint on the title (these were added on later issues). Un ballo in maschera was the last Verdi opera to be issued in the traditional oblong format and with the numbers individually priced and paginated. The copy in the British Library lacks the final leaf.
Composed to the libretto by Antonio Somma (after the play "Gustave III" by Eugene Scribe), the opera was first performed at the Teatro Apollo in Rome on February 17, 1859. Verdi had intended it for production at the San Carlo in Naples in fulfilment of his contract with the management, but the authorities there "insisted on the transformation of the original Gustavus III of Sweden into an imaginary Earl of Warwick and the locale of this fantastic and bloody melodrama to the Puritan city of Boston in New England! It was during the popular demonstrations attending the preparation of this opera that crowds in front of his hotel shouted "Viva Verdi " - a cry of double meaning, for the letters of the composer's name formed the initials of "Vittorio Emanuele Re D'Italia," and thus he came to be identified with the cause of Italian national unity as a symbol." (Grout, "A Short History of Opera. p. 365)