Charpentier, Gustave. (1860-1956). Signed "Louise" Postcard. Signed black and white illustrated postcard advertising the opera "Louise," boldly signed and dated 1933 by the composer on the image. Together with the original transmissal envelope addressed by the composer and a postcard apparently also sent by him concerning the "Oeuvre de Mimi Pinson" which he founded and which taught its worker–students elementary music, song and dance, and gradually expanded to include a charitable organisation and social network. In fine condition. Together with a clipped magazine photograph of the composer.
The opera was first performed at the Opéra Comique, Paris, February 2, 1900. "Charpentier's growing success in the 1890s with La vie du poète and open-air extravaganzas like the Sérénade à Watteau and La couronnement de la muse, coupled with the expected scandal attached to the opera's promiscuous theme and the excitement of the Paris Exhibition, led to a box-office triumph in February 1900, though the composer had nearly starved during the previous year. The vociferous young left wing hailed him as the saviour of French music, though it was undoubtedly the sociological ideals of this first opera of women's liberation rather than its music which appealed. Dukas gave the soundest verdict: ‘The first and last acts are those of a master; the other two are those of an artist; the whole is the work of a man’." (Robert Orledge, Grove Online)
The opera was first performed at the Opéra Comique, Paris, February 2, 1900. "Charpentier's growing success in the 1890s with La vie du poète and open-air extravaganzas like the Sérénade à Watteau and La couronnement de la muse, coupled with the expected scandal attached to the opera's promiscuous theme and the excitement of the Paris Exhibition, led to a box-office triumph in February 1900, though the composer had nearly starved during the previous year. The vociferous young left wing hailed him as the saviour of French music, though it was undoubtedly the sociological ideals of this first opera of women's liberation rather than its music which appealed. Dukas gave the soundest verdict: ‘The first and last acts are those of a master; the other two are those of an artist; the whole is the work of a man’." (Robert Orledge, Grove Online)
Charpentier, Gustave. (1860-1956). Signed "Louise" Postcard. Signed black and white illustrated postcard advertising the opera "Louise," boldly signed and dated 1933 by the composer on the image. Together with the original transmissal envelope addressed by the composer and a postcard apparently also sent by him concerning the "Oeuvre de Mimi Pinson" which he founded and which taught its worker–students elementary music, song and dance, and gradually expanded to include a charitable organisation and social network. In fine condition. Together with a clipped magazine photograph of the composer.
The opera was first performed at the Opéra Comique, Paris, February 2, 1900. "Charpentier's growing success in the 1890s with La vie du poète and open-air extravaganzas like the Sérénade à Watteau and La couronnement de la muse, coupled with the expected scandal attached to the opera's promiscuous theme and the excitement of the Paris Exhibition, led to a box-office triumph in February 1900, though the composer had nearly starved during the previous year. The vociferous young left wing hailed him as the saviour of French music, though it was undoubtedly the sociological ideals of this first opera of women's liberation rather than its music which appealed. Dukas gave the soundest verdict: ‘The first and last acts are those of a master; the other two are those of an artist; the whole is the work of a man’." (Robert Orledge, Grove Online)
The opera was first performed at the Opéra Comique, Paris, February 2, 1900. "Charpentier's growing success in the 1890s with La vie du poète and open-air extravaganzas like the Sérénade à Watteau and La couronnement de la muse, coupled with the expected scandal attached to the opera's promiscuous theme and the excitement of the Paris Exhibition, led to a box-office triumph in February 1900, though the composer had nearly starved during the previous year. The vociferous young left wing hailed him as the saviour of French music, though it was undoubtedly the sociological ideals of this first opera of women's liberation rather than its music which appealed. Dukas gave the soundest verdict: ‘The first and last acts are those of a master; the other two are those of an artist; the whole is the work of a man’." (Robert Orledge, Grove Online)