![[Donizetti, Gaetano. (1797–1848)] Pons, Lily. (1898–1976) "La Fille du Régiment" - Autograph Manuscript Performing Score](http://www.schubertiademusic.com/cdn/shop/files/Donizetti_Fille_ex_PONS_1.jpg?v=1722187652)
![[Donizetti, Gaetano. (1797–1848)] Pons, Lily. (1898–1976) "La Fille du Régiment" - Autograph Manuscript Performing Score](http://www.schubertiademusic.com/cdn/shop/files/Donizetti_Fille_ex_PONS_2.jpg?v=1722187653)
![[Donizetti, Gaetano. (1797–1848)] Pons, Lily. (1898–1976) "La Fille du Régiment" - Autograph Manuscript Performing Score](http://www.schubertiademusic.com/cdn/shop/files/Donizetti_Fille_ex_PONS_3.jpg?v=1722187652)
[Donizetti, Gaetano. (1797–1848)] Pons, Lily. (1898–1976). "La Fille du Régiment" - Autograph Manuscript Performing Score. Autograph arrangements of arias from La Fille du Regiment, from the collection of the glamorous coloratura soprano, celebrated in particular for her performances of this work. In part accomplished in an unidentified hand and partly in the hand of Lily Pons. A piano-vocal score, folio, 25 pp., in black ink with additional musical notation, cuts, directions, performance markings in pencil in the hand of Pons on numerous pages. Stamped "Property of Lily Pons" in red on the front cover. This laid into a brown bound folio, stamped "Lily Pons" on the front lower board, and containing approx. 90 pp of autograph manuscript of the Full Score, similarly including markings of various kinds in the hand of Pons throughout. In fine condition, a historic piece of opera history.
"On Saturday afternoon, 28 December 1940, the Metropolitan presented a revival of the Donizetti gem...as a new vehicle for Lily Pons. Only two Metropolitan Maries had preceded her: Sembrich, at the beginning of the century, and Frieda Hempel...at the end of World War I. In 1940 all Europe was again engulfed in conflict and France was occupied by the Nazis. When, at the opera's conclusio, Miss Pons advances to the front of the stage dressed in regimental uniform and waving the French flag, Donizetti's pert comedy undergoes a patriotic metamorphosis as the audience rises to its feet. Mr. Cross recounts to the radio audience the 'thrilling closing scene...Lily Pons as Marie waving aloft the French Napoleonic tricolors of her twenty-first regiment, and the orchestra and chorus singing those strains of the Marseillaise.' An aura of sentiment has accrued to this performance, heightened in memory by the image of the petite Pons as the plucky 'vivandiere' uttering mild epithets ('Morbleu'), 'currycombing one of the dappled wooden horses in its stall,' and playing at soldier rather like a grown-up Shirley Temple...Even her most vehement detractors accept Pons's regimental daughter as the pinnacle of her career." (Paul Jackson, in "Lily Pons: A Centennial Portrait," p. 115)
"On Saturday afternoon, 28 December 1940, the Metropolitan presented a revival of the Donizetti gem...as a new vehicle for Lily Pons. Only two Metropolitan Maries had preceded her: Sembrich, at the beginning of the century, and Frieda Hempel...at the end of World War I. In 1940 all Europe was again engulfed in conflict and France was occupied by the Nazis. When, at the opera's conclusio, Miss Pons advances to the front of the stage dressed in regimental uniform and waving the French flag, Donizetti's pert comedy undergoes a patriotic metamorphosis as the audience rises to its feet. Mr. Cross recounts to the radio audience the 'thrilling closing scene...Lily Pons as Marie waving aloft the French Napoleonic tricolors of her twenty-first regiment, and the orchestra and chorus singing those strains of the Marseillaise.' An aura of sentiment has accrued to this performance, heightened in memory by the image of the petite Pons as the plucky 'vivandiere' uttering mild epithets ('Morbleu'), 'currycombing one of the dappled wooden horses in its stall,' and playing at soldier rather like a grown-up Shirley Temple...Even her most vehement detractors accept Pons's regimental daughter as the pinnacle of her career." (Paul Jackson, in "Lily Pons: A Centennial Portrait," p. 115)
[Donizetti, Gaetano. (1797–1848)] Pons, Lily. (1898–1976). "La Fille du Régiment" - Autograph Manuscript Performing Score. Autograph arrangements of arias from La Fille du Regiment, from the collection of the glamorous coloratura soprano, celebrated in particular for her performances of this work. In part accomplished in an unidentified hand and partly in the hand of Lily Pons. A piano-vocal score, folio, 25 pp., in black ink with additional musical notation, cuts, directions, performance markings in pencil in the hand of Pons on numerous pages. Stamped "Property of Lily Pons" in red on the front cover. This laid into a brown bound folio, stamped "Lily Pons" on the front lower board, and containing approx. 90 pp of autograph manuscript of the Full Score, similarly including markings of various kinds in the hand of Pons throughout. In fine condition, a historic piece of opera history.
"On Saturday afternoon, 28 December 1940, the Metropolitan presented a revival of the Donizetti gem...as a new vehicle for Lily Pons. Only two Metropolitan Maries had preceded her: Sembrich, at the beginning of the century, and Frieda Hempel...at the end of World War I. In 1940 all Europe was again engulfed in conflict and France was occupied by the Nazis. When, at the opera's conclusio, Miss Pons advances to the front of the stage dressed in regimental uniform and waving the French flag, Donizetti's pert comedy undergoes a patriotic metamorphosis as the audience rises to its feet. Mr. Cross recounts to the radio audience the 'thrilling closing scene...Lily Pons as Marie waving aloft the French Napoleonic tricolors of her twenty-first regiment, and the orchestra and chorus singing those strains of the Marseillaise.' An aura of sentiment has accrued to this performance, heightened in memory by the image of the petite Pons as the plucky 'vivandiere' uttering mild epithets ('Morbleu'), 'currycombing one of the dappled wooden horses in its stall,' and playing at soldier rather like a grown-up Shirley Temple...Even her most vehement detractors accept Pons's regimental daughter as the pinnacle of her career." (Paul Jackson, in "Lily Pons: A Centennial Portrait," p. 115)
"On Saturday afternoon, 28 December 1940, the Metropolitan presented a revival of the Donizetti gem...as a new vehicle for Lily Pons. Only two Metropolitan Maries had preceded her: Sembrich, at the beginning of the century, and Frieda Hempel...at the end of World War I. In 1940 all Europe was again engulfed in conflict and France was occupied by the Nazis. When, at the opera's conclusio, Miss Pons advances to the front of the stage dressed in regimental uniform and waving the French flag, Donizetti's pert comedy undergoes a patriotic metamorphosis as the audience rises to its feet. Mr. Cross recounts to the radio audience the 'thrilling closing scene...Lily Pons as Marie waving aloft the French Napoleonic tricolors of her twenty-first regiment, and the orchestra and chorus singing those strains of the Marseillaise.' An aura of sentiment has accrued to this performance, heightened in memory by the image of the petite Pons as the plucky 'vivandiere' uttering mild epithets ('Morbleu'), 'currycombing one of the dappled wooden horses in its stall,' and playing at soldier rather like a grown-up Shirley Temple...Even her most vehement detractors accept Pons's regimental daughter as the pinnacle of her career." (Paul Jackson, in "Lily Pons: A Centennial Portrait," p. 115)