Boito, Arrigo. (1842–1918). Méphistophélès - Signed Presentation Copy to Jules Danbé. Milan-Rome-Naples-Florence-London: Ricordi. [October 1887]. Large octavo. [PNs G 48185 G; e 48185e; q 48185 q; j 48185 j; z 48185 z; a 48185 a]. Quarter red morocco with marbled boards, raised bands on spine in decorative compartments gilt, titling gilt, marbled endpapers. 1f. (blank),1f. (title with publisher's device to verso), [i] (cast list), [ii] (table of contents), 280 pp. Composer-librettist's autograph inscription signed to upper right corner of cast list, with dedication reading: "A Monsieur Danbé souvenir amical." Binding slightly worn, rubbed, and bumped; head of spine chipped. Edges browned; upper margin slightly trimmed, not affecting autograph; signature slightly smudged; lower margin of title with old repair; publisher's blindstamp dated October 1887 to lower inner margin of title with imprint evident to several following leaves.
The Opera in a prologue, five acts, and an epilogue to Boïto's own libretto after Goethe's Faust, Méphistophélès was first performed in Milan at the Teatro alla Scala on March 5, 1868. Although its first performance was a fiasco, the work aroused more enthusiasm after subsequent revisions. Twentieth-century revivals of the opera have usually been associated with famous singers, including Fyodor Shalyapin and Enrico Caruso. George Bernard Shaw summed up his reaction to Méphistophéles in these terms: "The whole work is a curious example of what can be done in opera by an accomplished literary man without original musical gifts, but with ten times the taste and culture of a musician of only ordinary extraordinariness." (Grove Online)
Jules Danbé (1840 - 1905) was a noted violinist and conductor who in 1871 founded the Concerts Danbé at the Grand-Hôtel in Paris, as well mounting concerts at the Salle Herz in 1874 and the Salle Ventadour in 1875. Principal conductor at the Théâtre de la Gaîté-Lyrique in 1876, he was conductor at the Opéra-Comique from 1877 - 1898. His tenure, assisted by Henri Vaillard and Giannini, was considered to have improved the quality of the orchestral playing; in 1889, a performance of the Verdi Requiem drew the comment that the orchestra was probably the best in Paris. As well as conducting the central repertoire at the Opéra-Comique he conducted the premieres of, among others, The Tales of Hoffmann (Offenbach), Lakmé (Delibes), Manon and Sapho (Massenet), Le roi malgré lui (Chabrier), Esclarmonde (Massenet), as well as operas by Messager, Bruneau, Saint-Saëns and Cui. He also conducted an early revival by the Opéra-Comique of Les Troyens à Carthage (in the same theatre as its premiere) in June 1892 which witnessed a triumphant début for the 17-year-old Marie Delna.
The Opera in a prologue, five acts, and an epilogue to Boïto's own libretto after Goethe's Faust, Méphistophélès was first performed in Milan at the Teatro alla Scala on March 5, 1868. Although its first performance was a fiasco, the work aroused more enthusiasm after subsequent revisions. Twentieth-century revivals of the opera have usually been associated with famous singers, including Fyodor Shalyapin and Enrico Caruso. George Bernard Shaw summed up his reaction to Méphistophéles in these terms: "The whole work is a curious example of what can be done in opera by an accomplished literary man without original musical gifts, but with ten times the taste and culture of a musician of only ordinary extraordinariness." (Grove Online)
Jules Danbé (1840 - 1905) was a noted violinist and conductor who in 1871 founded the Concerts Danbé at the Grand-Hôtel in Paris, as well mounting concerts at the Salle Herz in 1874 and the Salle Ventadour in 1875. Principal conductor at the Théâtre de la Gaîté-Lyrique in 1876, he was conductor at the Opéra-Comique from 1877 - 1898. His tenure, assisted by Henri Vaillard and Giannini, was considered to have improved the quality of the orchestral playing; in 1889, a performance of the Verdi Requiem drew the comment that the orchestra was probably the best in Paris. As well as conducting the central repertoire at the Opéra-Comique he conducted the premieres of, among others, The Tales of Hoffmann (Offenbach), Lakmé (Delibes), Manon and Sapho (Massenet), Le roi malgré lui (Chabrier), Esclarmonde (Massenet), as well as operas by Messager, Bruneau, Saint-Saëns and Cui. He also conducted an early revival by the Opéra-Comique of Les Troyens à Carthage (in the same theatre as its premiere) in June 1892 which witnessed a triumphant début for the 17-year-old Marie Delna.
Boito, Arrigo. (1842–1918). Méphistophélès - Signed Presentation Copy to Jules Danbé. Milan-Rome-Naples-Florence-London: Ricordi. [October 1887]. Large octavo. [PNs G 48185 G; e 48185e; q 48185 q; j 48185 j; z 48185 z; a 48185 a]. Quarter red morocco with marbled boards, raised bands on spine in decorative compartments gilt, titling gilt, marbled endpapers. 1f. (blank),1f. (title with publisher's device to verso), [i] (cast list), [ii] (table of contents), 280 pp. Composer-librettist's autograph inscription signed to upper right corner of cast list, with dedication reading: "A Monsieur Danbé souvenir amical." Binding slightly worn, rubbed, and bumped; head of spine chipped. Edges browned; upper margin slightly trimmed, not affecting autograph; signature slightly smudged; lower margin of title with old repair; publisher's blindstamp dated October 1887 to lower inner margin of title with imprint evident to several following leaves.
The Opera in a prologue, five acts, and an epilogue to Boïto's own libretto after Goethe's Faust, Méphistophélès was first performed in Milan at the Teatro alla Scala on March 5, 1868. Although its first performance was a fiasco, the work aroused more enthusiasm after subsequent revisions. Twentieth-century revivals of the opera have usually been associated with famous singers, including Fyodor Shalyapin and Enrico Caruso. George Bernard Shaw summed up his reaction to Méphistophéles in these terms: "The whole work is a curious example of what can be done in opera by an accomplished literary man without original musical gifts, but with ten times the taste and culture of a musician of only ordinary extraordinariness." (Grove Online)
Jules Danbé (1840 - 1905) was a noted violinist and conductor who in 1871 founded the Concerts Danbé at the Grand-Hôtel in Paris, as well mounting concerts at the Salle Herz in 1874 and the Salle Ventadour in 1875. Principal conductor at the Théâtre de la Gaîté-Lyrique in 1876, he was conductor at the Opéra-Comique from 1877 - 1898. His tenure, assisted by Henri Vaillard and Giannini, was considered to have improved the quality of the orchestral playing; in 1889, a performance of the Verdi Requiem drew the comment that the orchestra was probably the best in Paris. As well as conducting the central repertoire at the Opéra-Comique he conducted the premieres of, among others, The Tales of Hoffmann (Offenbach), Lakmé (Delibes), Manon and Sapho (Massenet), Le roi malgré lui (Chabrier), Esclarmonde (Massenet), as well as operas by Messager, Bruneau, Saint-Saëns and Cui. He also conducted an early revival by the Opéra-Comique of Les Troyens à Carthage (in the same theatre as its premiere) in June 1892 which witnessed a triumphant début for the 17-year-old Marie Delna.
The Opera in a prologue, five acts, and an epilogue to Boïto's own libretto after Goethe's Faust, Méphistophélès was first performed in Milan at the Teatro alla Scala on March 5, 1868. Although its first performance was a fiasco, the work aroused more enthusiasm after subsequent revisions. Twentieth-century revivals of the opera have usually been associated with famous singers, including Fyodor Shalyapin and Enrico Caruso. George Bernard Shaw summed up his reaction to Méphistophéles in these terms: "The whole work is a curious example of what can be done in opera by an accomplished literary man without original musical gifts, but with ten times the taste and culture of a musician of only ordinary extraordinariness." (Grove Online)
Jules Danbé (1840 - 1905) was a noted violinist and conductor who in 1871 founded the Concerts Danbé at the Grand-Hôtel in Paris, as well mounting concerts at the Salle Herz in 1874 and the Salle Ventadour in 1875. Principal conductor at the Théâtre de la Gaîté-Lyrique in 1876, he was conductor at the Opéra-Comique from 1877 - 1898. His tenure, assisted by Henri Vaillard and Giannini, was considered to have improved the quality of the orchestral playing; in 1889, a performance of the Verdi Requiem drew the comment that the orchestra was probably the best in Paris. As well as conducting the central repertoire at the Opéra-Comique he conducted the premieres of, among others, The Tales of Hoffmann (Offenbach), Lakmé (Delibes), Manon and Sapho (Massenet), Le roi malgré lui (Chabrier), Esclarmonde (Massenet), as well as operas by Messager, Bruneau, Saint-Saëns and Cui. He also conducted an early revival by the Opéra-Comique of Les Troyens à Carthage (in the same theatre as its premiere) in June 1892 which witnessed a triumphant début for the 17-year-old Marie Delna.