Mozart, Wolfgang Amadeus. (1756–1791). Le Nozze di Figaro. Die Hochzeit des Figaro. Eine Comische Oper in 4. Aufzügen...fürs Clavier eingerichtet von C. G. Neefe.. Bonn: N. Simrock [under pasted ticket of Chez Louis, Marchand de Musique, Rue du Roule]. [1801]. First edition [10th issue]. [1] (title printed within oval decorative border), 2-228 pp., 1f. Oblong 4to (c.21.5 x 30cms). Engraved throughout. [PN] 28. Text in Italian and German. Includes as No. 30, Mozart's aria "Al desio di chi t'adora" (k. 577). The addition of the price 24 Fr. obscured by the Louis ticket, but visible under light. Marbled boards, gilt-stamped ownership plate of Mr. Sernin to the upper board and his signature upper right on title, binding rubbed and chipped, a very crisp and clean copy within. Haberkamp page 259.
Early issues of the first edition of Mozart's best-loved opera are very scarce. First performed in Vienna at the Burgtheater on May 1, 1786, with libretto by Lorenzo da Ponte after Beaumarchais. "Figaro is generally agreed to be the most perfect and least problematic of Mozart's great operas... In the great finales of Acts 2 and 4, Mozart reached a level which he could never surpass; indeed, he was hardly to equal the Bb Allegro of the second act finale for its mercurial motivic play and the subsequent Andante in 6/8 for the synchronization of dramatic revelation with the demands of musical form." Grove Opera Vol. 3 p. 634.
Early issues of the first edition of Mozart's best-loved opera are very scarce. First performed in Vienna at the Burgtheater on May 1, 1786, with libretto by Lorenzo da Ponte after Beaumarchais. "Figaro is generally agreed to be the most perfect and least problematic of Mozart's great operas... In the great finales of Acts 2 and 4, Mozart reached a level which he could never surpass; indeed, he was hardly to equal the Bb Allegro of the second act finale for its mercurial motivic play and the subsequent Andante in 6/8 for the synchronization of dramatic revelation with the demands of musical form." Grove Opera Vol. 3 p. 634.
Mozart, Wolfgang Amadeus. (1756–1791). Le Nozze di Figaro. Die Hochzeit des Figaro. Eine Comische Oper in 4. Aufzügen...fürs Clavier eingerichtet von C. G. Neefe.. Bonn: N. Simrock [under pasted ticket of Chez Louis, Marchand de Musique, Rue du Roule]. [1801]. First edition [10th issue]. [1] (title printed within oval decorative border), 2-228 pp., 1f. Oblong 4to (c.21.5 x 30cms). Engraved throughout. [PN] 28. Text in Italian and German. Includes as No. 30, Mozart's aria "Al desio di chi t'adora" (k. 577). The addition of the price 24 Fr. obscured by the Louis ticket, but visible under light. Marbled boards, gilt-stamped ownership plate of Mr. Sernin to the upper board and his signature upper right on title, binding rubbed and chipped, a very crisp and clean copy within. Haberkamp page 259.
Early issues of the first edition of Mozart's best-loved opera are very scarce. First performed in Vienna at the Burgtheater on May 1, 1786, with libretto by Lorenzo da Ponte after Beaumarchais. "Figaro is generally agreed to be the most perfect and least problematic of Mozart's great operas... In the great finales of Acts 2 and 4, Mozart reached a level which he could never surpass; indeed, he was hardly to equal the Bb Allegro of the second act finale for its mercurial motivic play and the subsequent Andante in 6/8 for the synchronization of dramatic revelation with the demands of musical form." Grove Opera Vol. 3 p. 634.
Early issues of the first edition of Mozart's best-loved opera are very scarce. First performed in Vienna at the Burgtheater on May 1, 1786, with libretto by Lorenzo da Ponte after Beaumarchais. "Figaro is generally agreed to be the most perfect and least problematic of Mozart's great operas... In the great finales of Acts 2 and 4, Mozart reached a level which he could never surpass; indeed, he was hardly to equal the Bb Allegro of the second act finale for its mercurial motivic play and the subsequent Andante in 6/8 for the synchronization of dramatic revelation with the demands of musical form." Grove Opera Vol. 3 p. 634.