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Auction No. 3 - A Rare and Important Collection of Autographs and Memorabilia: Science, Literature, Art, Music, and History

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Lotto 320 - PUCCINI Giacomo (1858 - 1924) PUCCINI Giacomo (1858 - 1924) OPERA - PUCCINI Giacomo (1858 - 1924) - Autograph letter signed Autograph letter signed "Puccini", dated "Milano 5.3. 1900", by the Italian composer, addressed to "Caro Popino mio" (the conductor Leopoldo Mugnone). A beautiful and important letter in which Puccini informs Mugnone of the success obtained in Turin from the performance of Tosca "A Torino è finito benone con piene e applausi. L’esecuzione (scene) orchestra cori, fu vile, quanto ti cercai col cuore [Puccini thinks certainly goes to the success of Mugnone's conducting at the premiere of Tosca at the Costanzi in Rome]. And he continues, still on the subject of Tosca: “Ora si prova qui e pare che s’andrà bene. Ho Borgatti (1871-1950, famous tenor) invece di Dé Marchi [the first performer of Tosca at the Costanzi]… vedremo come andrà…per la parte lirica credo bene…”. He complains that “…i miei poeti sonnechino. Illica non s’è fatto più vedere…l’altro [i.e. Giacosa] è sotto il dole peso di un success oero, la Commedia “Come le foglie” e corre di Teatro in Teatro non occupandosi di trovare quel che cerco… Questo stato di cose mi opprime e non può durare…”. It is interesting to recall that the very two authors Puccini accused of 'inertia', would after a few months put their hand to the libretto of 'Madama Butterfly'. A great success for the musician. 3 pp. in-8°, rr.49. Envelope and autograph address. - This Item is currently in Finland and can be shipped within the European Community with NO import tax and VAT. UK deliveries will be subject to 5% import VAT

Stima 1 500 - 2 500 GBP

Lotto 339 - SPANI Hina (1890 - 1969) SPANI Hina (1890 - 1969) OPERA - SPANI Hina (1890 - 1969) - Autograph letter signed Autograph letter signed, dated “Febbraio 5 ––“ by the Argentine soprano. Her real name was Higinia Tuñón. She made her operatic début at La Scala, Milan, in 1915, in the secondary rôle of Anna in Alfredo Catalani's “La Wally”. She sang regularly at La Scala and in all the leading Italian theaters until 1934. She also toured Australia with a first-rate troupe composed of some of La Scala's leading singers. At the Teatro Colón she was heard between 1915 and 1940, creating the title part in the world première of Respighi's “Maria Egiziaca” in 1934, as well as several operas by Argentine composers. To a “Maestro”: “…Ho visto ieri a Palma ch’è arrivato l’altra notte e ripartì stamane per essere qui di nuovo il 27 corrente. Lui ha tutte le miglior intenzioni di portarmi ed io di andare ma sono scontenta del repertorio perché mi apre la Jenufa (nuova) l’altra soprano di Armida e una argentina – Io vorrei il Simon Boccanegra per essere a parità, in parte, di condizioni artistiche con le mie colleghe che vengono a colori (…) Quella sig.ra Helm che non ha mai cantato né Armida, invade il campo di tutte le altre pur di non lascaire posto per altre artiste e vuol cantare tutto. Non è intelligente nel fare così, è anzi un pericolo per lei…”. 2 pp. In-4. With letterhead “Hôtel Manin/Milano”. - This item is under temporary import. If the item is delivered within the United Kingdom, it will be subject to a 5% Value Added Tax (VAT) on the hammer price.

Stima 100 - 150 GBP

Lotto 351 - VERDI Giuseppe (1813 - 1901) VERDI Giuseppe (1813 - 1901) 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 ...

Stima 2 500 - 4 000 GBP