French Soprano (40 results)

Smudge to "Yours". 4 1/2 x 2 inches.

Großes Szenefoto (Aufn. A. Pohlmann, Frankfurt) mit eigenhändiger Empfehlung, Unterschrift signiert, Iphigenie en Tausido , Saison 89 / 90.

Eigenhändiger Brief (2 S. kl. 8°), in Tinte mit Unterschrift signiert.

Eigenhändiger Brief (1 S. kl. 8°) in Tinte mit Unterschrift signiert BEILAGE : Repro-Porträtfoto der Sängerin.

Pas de couverture. Condition: Très bon. Rare - Authentic nice photo signed in 2000. Size : 10x15 cm. Condition : please see scans. Provenance : Georges Flour (1945-2013) collection. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Autogrammkarte mit eigenhändiger Empfehlung, Jahr 1961, Unterschrift signiert - mit Repro-Porträtfoto unter dunkelblaues Passepartout (4 to) gerahmt.

E.Postkarte in Tinte mit eigenhändiger Unterschrift signiert BEILAGE : Repro-Porträtfoto.

8vo. 1½ pp. on bifolium. To the organist and composer Louis James Alfred Lefébure-Wely, apologizing for being unable to attend a soirée because of the upcoming premiere of Ambroise Thomas's opera "La Tonelli", and promising a "compensation" as soon as possible: "Quel facheux contretemps: Vous n'ignorez sans doute point que la première de La Tonelli a lieu samedi prochain, les répétitions générales se feront jeudi et vendredi par conséquent me voilà forcé de manquer à ma promesse et privée en même temps d'assister à votre charmante soirée, je vous promets un dédommagement à votre première requête. Témoignez bien tous mes regrets sincères à madame Lefebvre et faites lui bien toutes mes amitiés dès que je sois un peu plus libre, je m'empresserai de lui rendre sa visite pour lui exprimer tout mon chagrin [.]". "La Tonelli" premiered on 30 March 1853 at the Opéra-Comique with Ugalde creating the lead role. - On stationery with embossed monogram. Traces of former mounting and minimal foxing.

12mo. 1½ pp. on bifolium. To a friend, announcing that she will attend a wedding and thus will be unable to give a class and visit a mutual friend: "Jeudi je vais à la messe de mariage de Marie Auvity - ainsi pas de cours; ni de visite Dimanche chez Mr Marthuin [?] ainsi que je me le promettais, parce que je rendrai les leçons ce jour là. Je vous rappelle que vous m'avez promis un jour d'Italien, je désire fameusement Don Juan - je vous embrasse [.]". - Laure Cinti-Damoreau entered the Paris Conservatory aged 7 as a piano student. When she was not allowed to attend singing classes, she switched to the school of the Opéra. At a private soirée she was introduced to the Italian coloratura soprano Angelica Catalani, who became her mentor. Catalani gave Cinti-Damoreau her first small roles at the Théâtre Italien, her stage debut was in Martín y Solar's "Una cosa rara" on 8 January 1816. When Manuel Garcá discovered the young singer, he gave her her first lead in his opera "Il califfo di Bagdad". Her stage debut at the Paris Opéra in 1825 was an immediate success. At that point Cinti-Damoreau had studied with Gioachino Rossini, rising to become his prima donna. Cinti-Damoreau created the female leads in the Paris premieres of "Elisabetta, regina d'Inghilterra" and "Mosè in Egitto" and in the world premieres of "Le comte Ory" (1828) and "Guillaume Tell" (1829), Rossini's last opera. She was also the first Isabelle in Meyerbeer's "Robert le diable" (1831). Laure Cinti-Damoreau was one of the first French opera singers to master the range of a coloratura soprano. Her private diary is an important source for music historians. - On stationery with embossed monogram. With traces of former mounting, some browning to the margins and collector's number in pencil (recto).

12mo. 3 pp. on bifolium. To a friend, possibly Louise Amélie Silny, the wife of Adolphe Crémieux, apologizing for not having written earlier and explaining that she will be unable to see the recipient before going on a trip to Bordeaux: "Je savais que vous n'avez pas besoin de moi chère et aimable Mme Crémieux [?], et c'est ce qui me consolait un peu de ne pouvoir aller a votre belle soirée ! Au reste vous pouvez juger de la multiplicité de mes occupations, puisque je n'ai pas encore vous écrit un mot, et qu'il me sera impossible d'aller vous faire ma petite visite avant mon départ pour Bordeaux! [.]". - Laure Cinti-Damoreau entered the Paris Conservatory aged 7 as a piano student. When she was not allowed to attend singing classes, she switched to the school of the Opéra. At a private soirée she was introduced to the Italian coloratura soprano Angelica Catalani, who became her mentor. Catalani gave Cinti-Damoreau her first small roles at the Théâtre Italien, her stage debut was in Martín y Solar's "Una cosa rara" on 8 January 1816. When Manuel Garcá discovered the young singer, he gave her her first lead in his opera "Il califfo di Bagdad". Her stage debut at the Paris Opéra in 1825 was an immediate success. At that point Cinti-Damoreau had studied with Gioachino Rossini, rising to become his prima donna. Cinti-Damoreau created the female leads in the Paris premieres of "Elisabetta, regina d'Inghilterra" and "Mosè in Egitto" and in the world premieres of "Le comte Ory" (1828) and "Guillaume Tell" (1829), Rossini's last opera. She was also the first Isabelle in Meyerbeer's "Robert le diable" (1831). Laure Cinti-Damoreau was one of the first French opera singers to master the range of a coloratura soprano. Her private diary is an important source for music historians. - On stationery with embossed monogram. With some browning to the margins and collector's number in pencil (on recto).

Various formats. Altogether 8 pp. and two lines (visiting card). Collection of mostly practical notes and letters, including a letter to Viardot's milliner. The postcard that can be dated to 13 May 1891 is an invitation to the dress rehearsal for a Madame Crauk and company. The telegram from 30 April 1895, addressed to a Madame Schlemmer, also concerns invitations to a concert or play. Viardot-Garcia names some of the guests in her box and those who have not yet responded to her invitation. A lettercard dated 20 April is an invitation to a pantomime: "Nous rejouons ma pantomime mardi prochain, de 5 h.res de l'après midi, chez les Grisot. Cette fois mon ami de pierre n'a plus d'excuse pour ne pas venir. Pas de toilette et vous rendez bien heureuse votre". A very urgent letter dated 17 April, to an unnamed recipient, concerns the necessary replacement of a performer for a forthcoming soirée. Viardot announces her daughter who "will explain all my apprehensions". In a letter written on a Wednesday, Viardot asks the recipient if she will attend a rehearsal that evening, also asking to borrow a drum: "Soyez assez gentille pour prêter pour ajourd'hui le tambour". Finally, in the letter to her unnamed milliner, dated 6 October, Viardot requests changes to a hat, as the brim was "somewhat flat", further asking that "a little bend" be added on each side. - Two letters and the lettercard on mourning stationery with embossed letterhead "243 Boulevard St-Germain". The visiting card with etched name. The letter to the milliner trimmed to the left border, minimally affecting the text on the second page. The lettercard with two abrasions affecting the text. Some browning overall.

12mo. Together 12 pp. on 5 bifolia. Affectionate correspondence with her student Marie Voisin. - Still in Bougival, Viardot does not intend to return to the city until the weather improves. She visits Paris three times a week to give lessons and invites Marie, whom she considers one of her dearest students, to her place: "Je suis encore à Bougival et nous ne reviendrons définitivement que quand le temps fera mine de se gâter pour de bon. Seulement je vais à Paris trois fois par semaine pour mes leçons. Vous conviendrait il de venir après demain mercredi à 3 heures et demie? [.] Je serai charmée de vous revoir, chère Mademoiselle Marie, et de continuer à vous compter au nombre de mes plus chères jeunes élèves [.]" (Bougival, 6 Oct. 1873). - Delighted with her daughter's engagement and hoping soon to introduce her fiancé to Marie: "Je viens vous annoncer une grande nouvelle, ma Claudie est fiancée avec Mr. George Chamerot! C'est vous dire que nous serions charmés de pouvoir vous présenter ce jeunne homme le 17. Nous sommes tous extrêmement heureux ce ce mariage, car il serait difficile de trouver quelqu'un de mieux [.]" (1 Jan. 1874). - About Marie's trip to Nischni-Novgorod, wishing her perfect health and that her lucky star may continue to protect her: "La foire de Nijni-Novgorod s'étend du 1er août au 1er Septembre. Que vous êtes heureuse d'aller voyager comme cela! Que votre bonne étoile continue à vous protéger, que vos santés soient parfaites, voilà ce qu'on peut vous souhaiter de mieux [.]" (17 May 1876). - Asking for an invitation for a friend of her daughter's fiancé, whom she considers a great dancer: "Le fiancé de ma fille Mr. Chamerot, a un ami intime, que vous avez aussi vu à la maison, très bon danseur, et pour lequel il serait bien heureux d'avoir une invitation [.]" (13 Jan., no year). - Scheduling a meeting for Tuesday, asking Voisin to specify the time: "Mardi, soit à 9 heures soit à 1 heures précise, je serai à votre disposition [.] Veuillez me faire dire l'heure qui vous convient le mieux [.]" (6 June, no year). - 2 letters on stationery with embossed inital "V". One with a larger tear (loss of a few words).

Pas de couverture. Condition: Bon. Rare - Nice authentic photo signed in person. Size : 12x19 cm. Condition : please see scans. Provenance : Georges Flour (1945-2013) collection. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Pas de couverture. Condition: Bon. Rare - Authentic signed nice photo postcard. Size : 14x9 cm. Condition : please see scans. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Pas de couverture. Condition: Bon. Rare - Guestbook page signed in person in Brussels in the 50s. + Photo (Michèle Alfa) 15x11.5 cm (recent print). Size : 17x13 cm. Condition : please see scans. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Condition: Good. - A 4-5/8 inch high by 7-1/2 inch wide sheet of creamy white paper removed from an autograph album inscribed & signed "Yours Most Sincerely / Marie Roze-Mapleson / Cincinnati 1879". The left edge of the sheet is rough and there is dampstaining along the top and right side of the page, not affecting the inscription or signature. Good. The French Operatic Soprano Marie Roze (Mapleson) (1846-1926) studied under Mocker and Auber at the Paris Conservatoire. She made her debut at the Opera-Comique in 1865 at the age of 16. She toured Britain and Scotland with the Carl Rosa Opera Company for 10 years singing roles ranging from Carmen and Manon to Marguerite. Engaged by the Max Strakosch Opera Company, she performed in Philadelphia as Leonora in Donizetti's "La favorita" in January of 1878. She returned to tour in the U.S. with the Carl Rosa Opera Company from 1883 to 1889. Marie Roze was first married to the operatic bass Jules E. Perkins and subsequently to Henry Mapleson, the son of the noted London and New York impressario.

Noten. Condition: Neu. Neuware.

Pas de couverture. Condition: Assez bon. Program signed in Tours in February 1911. Size : 27.5x22 cm. Condition : folds, please see scans. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Eigenhändiger Brief (1 S. 8°, mit geprägten Initialen am Kopf), in Tinte mit Unterschrift signiert.

Oblong 8vo. 3 lines. For an unknown friend: "Voilà, mon cher ami, la petite pensée avec toute notre amitié". - Written on the reverse of stationery of Yvonne Printemps and Gustave Quinson's Théâtre de la Michodière. Some browning.

Oblong-32mo. 1 p. avec sa vive reconnaissance".

Post card format. 1 p. Thanking a M. Alfred Rougeot for a kind letter: "J'ai été très touchée par votre aimable mot. Je vous en remercie de tout cur [.]". - The interesting portrait photograph by Henri Manuel shows Chenal in her stage costume for performances of the Marseillaise for French soldiers and at the end of her performances at the Opéra-Comique between 1914 and 1918.

8vo. 2 pp. and 2 lines on bifolium. To a singer, asking her to join a rehearsal: "Je vous remercie mille fois de votre bonne réponse. Je suis bien heureuse d'avoir votre consentement. Maintenant je viens vous prier de mettre le comble à votre extrême obligeance en venant répéter mercredi prochain à 8 heures précis. Veuillez agréer de nouveaux chère Mademoiselle, tous mes remerciements, et l'expression de mes meilleurs sentiments". - Émilie Gaveaux-Sabatier was among the leading singers of the Paris salons and other private concerts. Camille Saint-Saëns, Félix Gidefroid, Franz Lachner, and Ernest Reyer composed pieces for her. Gaveaux-Sabatier was a successful private singing teacher as well. - Minor foxing.

3pp, 12mo. Bifolium. On aged paper, with punch hole through both leaves at head, small closed cut along bottom edge of first leaf, and with paper and part of another letter (from an album) glued onto the reverse of the second leaf. Folded once. The signature 'M. Massenet' is explained in Massenet's obituary in the Musical Times, 1 September 1912, which speaks of 'the composer's known antipathy to the name Jules [] He preferred to be called "M. Massenet" simply'. The recipient of this enthusiastic letter is not named. The letter appears to have been written to a man who has sent a portrait of his wife (the Swedish soprano Sigrid Arnoldson-Fischhof) to Massenet. It begins: 'Cher ami, | Le portrait est admirable et si ressemblant! | L'attention est exquise!' He continues with a reference to 'votre "merveille" de femme', and then writes: 'Nous sommes en voyage, Mlle. Massenet & moi, et je vais écrire à notre grand ami Hengel.' He ends with a message for 'Mme Arnoldson'.

Oblong 12mo and visiting card format. 2 pp. and 3 lines. The letter to an unnamed recipient, possibly the writer Édouard-Auguste Spoll, asking him to authorize the composer J.-M. Mayan to use a portrait of her for his publication "Le Chant et la voix, étude complète de l'art lyrique" (Paris, 1891): "Monsieur Mayan m'écrit que vous voulez bien lui accorder l'autorisation de se servir pour sa méthode de chant d'un portrait que vous avez publié lors de ma biographie. Si vous n'éprouvez aucun inconvénient je vous serai très obligé de lui accorder cette autorisation." Spoll is the author of the only contemporary biography of the famous singer "Mme Carvalho : notes et souvenirs avec un portrait à l'eau-forte par Lalauze" (Paris, 1885). - The visiting card with lithographed name to thank an unnamed person: "avec ses remerciements et ses souhaits bien sincères". - Caroline Miolan Carvalho was considered one of the greatest sopranos of her time. As the prima donna at the Théâtre Lyrique (1856-67) she created several of Charles Gounod's most famous roles, including Marguerite in Faust (1859), Baucis in Philémon et Baucis (1860), and Juliette in Roméo et Juliette (1867). - Minor browning. The visiting card with staple holes.

8vo. 1 p. With autograph address. To the german book dealer Robert Steurer in Berlin. - Full-length portrait as Scheherazade.

Eigenhändige Briefkarte 2 S. 16°), in Tinte mit Datum, Unterschrift signiert 12.X.1889 remerciements pour l envoi de musique (Vignette de la Collection Bachimont (= HENRI BRESLES, ne Henri Achille Aimable Bachimont, Paris 17 e, 1864-1924, compositeur et chansonnier francais)) BEILAGE : Repro-Porträtfoto.

Eigenhändiger Brief (1 S. 4° auf persönlichem Briefpapier mit fein geprägten Initialen am Kopf), in Tinte mit Ort, Unterschrift signiert Pozne Tergolese (Paris) - an HENRI BERAUD (1885-1958, französischer Schriftsteller und Journalist. 1922 erhielt er den Prix Goncour.) "Cher Monsieur Beraud Puis-je vous demander le sacrifice de quelques uns de vos instants. Je n en abuserai pas - Si vous voulez bien me fixer un rendez-vous, votre heure sera la mienne, car je n ai jarnais la chance de vous rencontrer au telephone. Croyez je vous prie a mes souvenirs les milleurs" BEILAGE : Repro-Fotoporträt.

Oblong 12mo. 2 pp. Charming letter to a M. Fernier, probably a singer, inviting him to participate in a soirée concert for Charles Gounod with pieces from Karl Goldmark's "Die Königin von Saba" and Mozart's "Così fan tutte": "Êtes-vous libre jeudi prochain ? Connaissez-vous le 7or de la Reine de Saba ? nous avons Gounod ce soir-là et nous voudrions lui chanter le beau morceau ainsi que le 5tte de 'Così fan tutte' ('Di Scrivermi'). Voulez-vous être des nôtres et nous aider ? Vous serez deux fois aimable [.]". - Well preserved.

Oblong 8vo. 1 p. Probably to the composer Georges Dandelot or his father Arthur, apologizing for having forgotten to pay him and announcing an enclosed checque over 50 Francs: "Excusez mon étourderie mon cher Dandelot; j'avais comme vous l'avez constaté complètement oublié! Mes meilleurs souvenirs". - Suzanne Balguerie is considered one of the greatest sopranos of the interwar period. Among her admirers were Fauré, Dukas, Poulenc, and Messiaen. - With recipient's or collector's note in pencil. Minimally creased.