La Folle Journée ou Le Mariage de Figaro, Comédie en cinq Actes, en Prose. Représentée pour la première fois par les Comédiens Français ordinaires du Roi, le Mardi 27 Avril 1784. [Libretto]

[Mozart] BEAUMARCHAIS, Pierre-Augustin Caron de 1732-1799

Published by Chez les Libraires que vendent les Nouveautés, 1785
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We're sorry; this specific copy is no longer available. Here are our closest matches for La Folle Journée ou Le Mariage de Figaro, Comédie en cinq Actes, en Prose. Représentée pour la première fois par les Comédiens Français ordinaires du Roi, le Mardi 27 Avril 1784. [Libretto] by [Mozart] BEAUMARCHAIS, Pierre-Augustin Caron de 1732-1799.

Description:

Octavo. Contemporary marbled wrappers. 1f. (title), [iii]-xl (Préface), ]xli]-xliv ("Caracteres & habillemens de la Piece."), [1] (secondary title), [2] ("Personnages."), [3]-152 pp. With named cast list including Molé as Count Almaviva, d'Azincourt as Figaro and Mlle. Contat as Suzanne. Publisher's decorative woodcut device to title and woodcut pictorial headpiece to "Acte Premier." Binding slightly worn; upper joint split. Light foxing and some staining; manuscript annotations in ink to front free endpapers, foot of title, and occasionally throughout; some minor wear. A very good, uncut copy. First Edition, early issue, published in the same year as the first edition and before the opera was performed in the following year. Scarce. Cordier: Bibliographie des oeuvres de Beaumarchais no. 128.With a printed note to the foot of p. 152: "Achevé d'imprimer pour la premiere fois, le 28 Février 1785." Beaumarchais was harp teacher to the daughters of Louis XV. "[He] successfully included Baudron's storm music as a prelude to Act 4 of Le barbier, and, alongside continued use of vaudeville tunes in Le mariage de Figaro. stretched Comédie Française conventions by introducing a whole scene of dance, song and mime for the 'coronation' of Suzanne with the bride's head-dress. As if to vindicate Beaumarchais's musical instinct, Le barbier de Séville attracted settings by Benda, Paisiello, Isouard and Rossini, while the Mozart-Da Ponte collaboration in Le nozze di Figaro proved just how much of the original play was translatable into music." Rudolph Angermüller in Grove Music Online. Bookseller Inventory #

Bibliographic Details

Title: La Folle Journée ou Le Mariage de Figaro, ...
Publisher: Chez les Libraires que vendent les Nouveautés
Publication Date: 1785

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1.

Mozart]. BEAUMARCHAIS, Pierre-Augustin Caron de 1732-1799
Published by Chez les Libraires que vendent les Nouveautés, Paris (1785)
Used Softcover Quantity Available: 1
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Book Description Chez les Libraires que vendent les Nouveautés, Paris, 1785. Octavo. Contemporary marbled wrappers. 1f. (title), [iii]-xl (Préface), [xli]-xliv ("Caracteres & habillemens de la Piece."), [1] (secondary title), [2] ("Personnages."), [3]-152 pp. With named cast list including Molé as Count Almaviva, d'Azincourt as Figaro and Mlle. Contat as Suzanne. In a custom-made beige linen clamshell box with printed title label to spine.Publisher's decorative woodcut device to title and woodcut pictorial headpiece to "Acte Premier." With a printed note to the foot of p. 152: "Achevé d'imprimer pour la premiere fois, le 28 Février 1785." Wrappers worn and partially detached, spine lacking. Light foxing and some staining; manuscript annotations in ink to front free endpapers, foot of title, and occasionally throughout; some minor wear. A very good, uncut copy overall. First Edition, early issue, published in the same year as the first edition and pre-dating the first performance of the opera in May of 1786. Scarce. Cordier: Bibliographie des oeuvres de Beaumarchais no. 128.Le Nozze di Figaro, an opera buffa in four acts to a libretto by Lorenzo Da Ponte after Beaumarchais' play La folle journée, ou Le mariage de Figaro, was first performed in Vienna at the Burgtheater on May 1, 1786.Beaumarchais was harp teacher to the daughters of Louis XV. "[He] successfully included Baudron's storm music as a prelude to Act 4 of Le barbier, and, alongside continued use of vaudeville tunes in Le mariage de Figaro. stretched Comédie Française conventions by introducing a whole scene of dance, song and mime for the 'coronation' of Suzanne with the bride's head-dress. As if to vindicate Beaumarchais's musical instinct, Le barbier de Séville attracted settings by Benda, Paisiello, Isouard and Rossini, while the Mozart-Da Ponte collaboration in Le nozze di Figaro proved just how much of the original play was translatable into music." Rudolph Angermüller in Grove Music Online. Seller Inventory # 26030

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2.

MOZART]. Beaumarchais, Pierre-Augustin Caron de 1732-1799
Published by Au Palais-Royal: Ruault, [Paris] (1785)
Used Hardcover Quantity Available: 1
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Book Description Au Palais-Royal: Ruault, [Paris], 1785. Octavo. Full mottled tan paper boards, spine with title label gilt. 1f. (title), [i] (half-title), [i] (publication and editor's notes), lvi (preface), [i] (part-title), [i] (named cast list), [3]-236, 237 (approbation and printer's note), [i] (blank) pp.Publisher's decorative woodcut device to title. With the names of cast members, presumably for the play's premiere at the Théâtre Françis on April 27, 1784.Binding slightly worn; upper joint split. Light foxing and some staining; occasional minor wear. A very good copy overall. First Edition, early issue. Scarce. Cordier: Bibliographie des oeuvres de Beaumarchais, no. 128, stating that the earliest issues of this edition do not contain engraved plates.Without the printed note to the foot of p. 152 found in later issues.With a printed note to the final page of the play stating that the music was by Antoine Laurent Baudron (1742-1834), who also collaborated with Beaumarchais in providing music for his "Le Barbier de Séville," including the famous tune "Je suis Lindor," the theme of which has been used by Mozart for his 12 Variations K354/299a.Beaumarchais was harp teacher to the daughters of Louis XV. "[He] successfully included Baudron's storm music as a prelude to Act 4 of Le barbier, and, alongside continued use of vaudeville tunes in Le mariage de Figaro. stretched Comédie Française conventions by introducing a whole scene of dance, song and mime for the 'coronation' of Suzanne with the bride's head-dress. As if to vindicate Beaumarchais's musical instinct, Le barbier de Séville attracted settings by Benda, Paisiello, Isouard and Rossini, while the Mozart-Da Ponte collaboration in Le nozze di Figaro proved just how much of the original play was translatable into music." Rudolph Angermüller in Grove Music Online. Seller Inventory # 28690

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