[Viardot, Pauline. (1821-1910)]. Rossini, Gioacchino. (1792-1868). "Le Comte Ory" - Pauline Viardot's Copy. Paris: Troupenas [Edition Nicolo]. [1828]. Opéra en deux actes, avec accompagnement de Piano Forte. Title; catalogue; 258pp. Engraved. [PN] 308. Upright folio. Violet crushed silk velvet boards, relief-stamped and stamped with gold and with the initials "P.V.G." in gold on the front cover. Light scattered foxing throughout, chipped and worn at head and foot of spine, joints a little weak, overall fine. From the Collection of Pauline Viardot, one of the most important singers of the 19th century.
Pauline Viardot was the dedicatee of Brahms’ Alto Rhapdody and Saint-Saens wrote that it was her voice he had in mind when composing the role of Dalila. Viardot created Meyerbeer's "Le Prophete" (Fides), Orphee in the Berlioz version of Gluck's "Orphee et Euridice," Gounod's "Sapho," and Massenet's "Marie Magdalene" among others.
The "Edition Nicolo" was published by the music editor Troupenas, a close friend of Rossini. It was Pauline Viardot's father, Manuel Garcia, who in 1819 brought Rossini to the French public, through his celebrated production of the Barber of Seville.
Pauline Viardot was the dedicatee of Brahms’ Alto Rhapdody and Saint-Saens wrote that it was her voice he had in mind when composing the role of Dalila. Viardot created Meyerbeer's "Le Prophete" (Fides), Orphee in the Berlioz version of Gluck's "Orphee et Euridice," Gounod's "Sapho," and Massenet's "Marie Magdalene" among others.
The "Edition Nicolo" was published by the music editor Troupenas, a close friend of Rossini. It was Pauline Viardot's father, Manuel Garcia, who in 1819 brought Rossini to the French public, through his celebrated production of the Barber of Seville.
[Viardot, Pauline. (1821-1910)]. Rossini, Gioacchino. (1792-1868). "Le Comte Ory" - Pauline Viardot's Copy. Paris: Troupenas [Edition Nicolo]. [1828]. Opéra en deux actes, avec accompagnement de Piano Forte. Title; catalogue; 258pp. Engraved. [PN] 308. Upright folio. Violet crushed silk velvet boards, relief-stamped and stamped with gold and with the initials "P.V.G." in gold on the front cover. Light scattered foxing throughout, chipped and worn at head and foot of spine, joints a little weak, overall fine. From the Collection of Pauline Viardot, one of the most important singers of the 19th century.
Pauline Viardot was the dedicatee of Brahms’ Alto Rhapdody and Saint-Saens wrote that it was her voice he had in mind when composing the role of Dalila. Viardot created Meyerbeer's "Le Prophete" (Fides), Orphee in the Berlioz version of Gluck's "Orphee et Euridice," Gounod's "Sapho," and Massenet's "Marie Magdalene" among others.
The "Edition Nicolo" was published by the music editor Troupenas, a close friend of Rossini. It was Pauline Viardot's father, Manuel Garcia, who in 1819 brought Rossini to the French public, through his celebrated production of the Barber of Seville.
Pauline Viardot was the dedicatee of Brahms’ Alto Rhapdody and Saint-Saens wrote that it was her voice he had in mind when composing the role of Dalila. Viardot created Meyerbeer's "Le Prophete" (Fides), Orphee in the Berlioz version of Gluck's "Orphee et Euridice," Gounod's "Sapho," and Massenet's "Marie Magdalene" among others.
The "Edition Nicolo" was published by the music editor Troupenas, a close friend of Rossini. It was Pauline Viardot's father, Manuel Garcia, who in 1819 brought Rossini to the French public, through his celebrated production of the Barber of Seville.