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[Pasta, Giuditta. (1797 - 1865)] Paer, Ferdinando. (1771-1839). Saffo, Cantate Italienne a voix seule de soprano. Partition. - INSCRIBED PRESENTATION COPY TO GIUDITTA PASTA. Paris: Propriete de l'Auteur; chez les Principaux Marchands de Musique. [ca. 1815]. A remarkable association copy inscribed from the important Italian composer, one of the central figures in the development of the "opera semiseria" at the start of the 19th century, to the most celebrated soprano of the age, likely in the year of her first appearance in Paris. Upright folio. Title; 2 - 18 pp.  Engraved throughout. Inscribed at the head of the title page in brown ink "Alla Santa, ed ... Giuditta Pasta - L'Amico suo / L'Autore." Bound with string along the spine, edges and center of score a little creased and worn, some staining to the internal pages, else fine. 



In Vienna, Paer knew Beethoven and composed an opera "Leonora" (1804) the year before Beethoven's "Fidelio" (1805) with the same story. Paer succeeded Spontini as Director of the Theatre Italien in 1812 and retained the post during one of its finest periods until the mid-1820s. He composed many fine works which were frequently performed through the 19th century and he later became director of chamber music and Maitre de Chapelle to Louis-Philippe.

In 1816 Giuditta Pasta made her professional opera début in the world première of Scappa's Le tre Eleonore at the Teatro degli Accademici Filodrammatici in Milan and later that year she performed at the Théâtre Italien in Paris as Donna Elvira in Don Giovanni, Giulietta in Niccolò Antonio Zingarelli’s Giulietta e Romeo, and in two operas by Paer.  She was celebrated throughout Europe as the public responded to the poignancy of expression and immense range of her voice and dramatic gifts.  She was "the acknowledged 'diva del mondo' during the 1820s, famed not only for an extraordinary if flawed voice, but also for the physicality of her performance modes. Her innovative practices contributed to the development and reconceptualisation of opera’s dramatic potential on the early Romantic stage. Making her reputation in roles such as Medea (Mayr) and Semiramide (Rossini), Pasta later inspired the composition of three of the most striking operatic heroines of the period: Amina in La sonnambula (Bellini) and the title-roles of Norma (again Bellini) and Anna Bolena (Donizetti)." (Susan Rutherford, "La Cantante delle Passioni," Cambridge Opera Journal #19-2, 2007, p. 1)

A live recording of the work may be heard here: https://www.youtube.com/watch?v=PfODRaiuHpI

[Pasta, Giuditta. (1797 - 1865)] Paer, Ferdinando. (1771-1839) Saffo, Cantate Italienne a voix seule de soprano. Partition. - INSCRIBED PRESENTATION COPY TO GIUDITTA PASTA

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[Pasta, Giuditta. (1797 - 1865)] Paer, Ferdinando. (1771-1839). Saffo, Cantate Italienne a voix seule de soprano. Partition. - INSCRIBED PRESENTATION COPY TO GIUDITTA PASTA. Paris: Propriete de l'Auteur; chez les Principaux Marchands de Musique. [ca. 1815]. A remarkable association copy inscribed from the important Italian composer, one of the central figures in the development of the "opera semiseria" at the start of the 19th century, to the most celebrated soprano of the age, likely in the year of her first appearance in Paris. Upright folio. Title; 2 - 18 pp.  Engraved throughout. Inscribed at the head of the title page in brown ink "Alla Santa, ed ... Giuditta Pasta - L'Amico suo / L'Autore." Bound with string along the spine, edges and center of score a little creased and worn, some staining to the internal pages, else fine. 



In Vienna, Paer knew Beethoven and composed an opera "Leonora" (1804) the year before Beethoven's "Fidelio" (1805) with the same story. Paer succeeded Spontini as Director of the Theatre Italien in 1812 and retained the post during one of its finest periods until the mid-1820s. He composed many fine works which were frequently performed through the 19th century and he later became director of chamber music and Maitre de Chapelle to Louis-Philippe.

In 1816 Giuditta Pasta made her professional opera début in the world première of Scappa's Le tre Eleonore at the Teatro degli Accademici Filodrammatici in Milan and later that year she performed at the Théâtre Italien in Paris as Donna Elvira in Don Giovanni, Giulietta in Niccolò Antonio Zingarelli’s Giulietta e Romeo, and in two operas by Paer.  She was celebrated throughout Europe as the public responded to the poignancy of expression and immense range of her voice and dramatic gifts.  She was "the acknowledged 'diva del mondo' during the 1820s, famed not only for an extraordinary if flawed voice, but also for the physicality of her performance modes. Her innovative practices contributed to the development and reconceptualisation of opera’s dramatic potential on the early Romantic stage. Making her reputation in roles such as Medea (Mayr) and Semiramide (Rossini), Pasta later inspired the composition of three of the most striking operatic heroines of the period: Amina in La sonnambula (Bellini) and the title-roles of Norma (again Bellini) and Anna Bolena (Donizetti)." (Susan Rutherford, "La Cantante delle Passioni," Cambridge Opera Journal #19-2, 2007, p. 1)

A live recording of the work may be heard here: https://www.youtube.com/watch?v=PfODRaiuHpI