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AURORA Giuseppe Verdi Gran Galà -Fountain pen - Limited edition 0547/1…
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Pens AURORA Giuseppe Verdi Gran Galà -Fountain pen - Limited edition 0547/1919. Pen body and trim chiseled in solid 925 sterling silver and gold plated. 18kt yellow gold M nib on ebonite shaft. New pen, never inked or tested, sold in original box and complete kit including audio CD.

1709 

Pens AURORA Giuseppe Verdi Gran Galà -Fountain pen - Limited edition 0547/1919. Pen body and trim chiseled in solid 925 sterling silver and gold plated. 18kt yellow gold M nib on ebonite shaft. New pen, never inked or tested, sold in original box and complete kit including audio CD.

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OPERA - VERDI Giuseppe (1813 - 1901) - Unsigned autograph letter Unsigned autograph letter (last part is incomplete), undated (but between December and January 1869), by the renown Italian composer, addressed to “C.[aro] G.[iulio]”, the famous music publisher Giulio Ricordi. A very interesting musical letter all about the partial reworking desired by the musician after the highly successful first performance of his opera 'La Forza del Destino' in St. Petersburg on 10 November 1862. The librettist of the aforementioned opera had been F. M. Piave, but as he, for health reasons, was unable to make the changes Verdi considered necessary to the text, he resorted to the work of Antonio Ghislanzoni. The feverish work of remaking - both the text and the related music - was carried out through Giulio Ricordi, as indicated by Abbiati (vol. 3° p. 244 ff.) who mentions three letters between Giulio and Verdi on this matter without indicating the content. The changes came in the last act and Verdi speaks of them as follows at the beginning of the letter: 'I would not like to put the aria dEleonora in the beginning of the last act. I have tried to find a dissolution that you will submit to Ghislanzoni...' and, as a further demonstration of the great importance Verdi gave to the text of his operas, here he was busy 'suggesting' a new draft of Scene VII and the last of Act 4 of the opera. In reality, in his final text, this Scene VII was divided into three Scenes (VII-VIII-IX) and the Maestro's words underwent further changes, in part certainly imposed by the librettist, but in part desired by Verdi himself as he retouched the music. (This can also be seen from the text of another letter from Verdi to Ricordi in our possession, where the musician himself further retouches the words to adapt them to the musical requirements). The letter - unfortunately incomplete at the end of this period - ends with an interesting ...