1918 PUCCINI Il trittico FULL VOCAL SCORE Anne Roselle Copy

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Il trittico
Giacomo Puccini

First Edition

Collectible first edition of Giacomo Puccini's Il trittico, the full vocal score of three one-act operas (Il tabarro, Suor Angelica, and Gianni Schicchi) premiering at the Metropolitan Opera on December 14, 1918. Custom bound for renowned opera soprano Anne Roselle. Her personal copy. Roselle's name stamped in gilt on front panel and in ink on Puccini photo frontis. Later personal copy of noted opera soprano Elizabeth Wrancher. Signed in ink by Wrancher on front free endpaper. Purchased from the estate of Elizabeth Wrancher.

ANNE ROSELLE & ELIZABETH WRANCHER:

1894-1989. Anne Roselle was born Anna Gyenge in Budapest and moved to the United States as a child with her family where she received her first vocal tuition. According to Kutsch-Riemens she made her debut in Budapest in 1915. She subsequently appeared at the Strand Theatre in New York and from 1918 to 1920 with Antonio Scotti’s opera company. It was he who recommended her to Gatti-Casazza, the director of the Metropolitan. There she made her debut as Musetta in 1920. Subsequently she was assigned to sing small roles and realized that young singers had no chance at the star-orientated opera house. Fortunately, Scotti reinvited her to sing in his opera company which toured the United States. Scotti entrusted her with central roles such as Butterfly and Tosca! After two years the company disbanded and Anne Roselle decided to continue her career in Europe. In 1926 Fritz Busch contracted her at the Dresden Opera. Singing Turandot in the first German performance she became a star overnight. This role remained her suprime calling card and she enjoyed triumphant acclaim whenever she appeared in this role (the high tessitura ideally suited to her voice). She was also an admired Mimì, Butterfly, Leonora, Marguerite, Santuzza, Donna Anna and Aida. She frequently appeared as a guest in Vienna, London, Paris, Berlin and at the Arena di Verona. She sang in a highly successful broadcast performance of Un Ballo in Maschera opposite the star tenor Joseph Schwarz as well as Maria Olszewska and Theodor Scheidl. Her associaction with Vienna was unfortunately not a long one. In 1930 she returned to the United States. Leopold Stokowski had chosen her to perform Marie in Berg’s Wozzeck on the occasion of the first US performance in Philadelphia. She even appeared as Elektra (again under Stokowski), Salome and Konstanze (!). After her retirement she lived in Philadelphia where she passed on her experience to her many students.

Anne Roselle’s initial claim to fame was primarily the glorious timbre of her top range wich seemed to radiate a wholly individual fluidium of spirituality. The listener felt intoxicated, as if he had caugt the waft of an exotic flower. With only slight exaggeration one might even compare her voice to the effect of an opiate. A special radiance imbued this voice with a peculiar attractivity, which increased the higher tessitura. Supreme cultivation, a faultless technique with considerable vocal agility and an ideal tonal emission which gave the voice superb projection despite its only moderately large volume, formed the basis of this superb instrument, which only in the lower middle range occasionally evinced a, sometimes intentionally, occluded sound.

Recordings:

D’amor sull’ali rosee (Leonora in Il Trovatore / Verdi)

Wenn das Kraut, wie die Seherin kündet (Amelia in Un Ballo in Maschera / Verdi)

Der Tod sei mir willkommen (Amelia in Un Ballo in Maschera / Verdi)

Ritorna vincitor (Title role in Aida / Verdi)

O patria mia (Title role in Aida / Verdi)

Qual fiamma avea nel guardo (Nedda in Pagliacci / Leoncavallo)

La mamma morta (Maddalena in Andrea Chénier / Giordano)

Sì, mi chiamano Mimì (Mimì in La Bohème / Puccini)

Donde lieta usci (Mimì in La Bohème / Puccini)

Vissi d’arte (Title role in Tosca / Puccini)

Un bel dì vedremo (Cio-Cio-San in Madame Butterfly / Puccini)

Sai cos’ebbe cuore (Cio-Cio-San in Madame Butterfly / Puccini)

In diesem Schlosse (Title role in Turandot / Puccini)

È il primo pianto in German (Title role in Turandot / Puccini)

Il m’aime (Marguerite in Faust / Gounod)

Je dis que rien ne m’épouvante (Micaela in Carmen / Bizet)

Ave Maria (Desdemona in Otello / Verdi)

Sono andati? (Mimì in La Bohème / Puccini)

Tu, tu, piccolo Iddio (Cio-Cio-San in Madame Butterfly / Puccini)

1930-2012. Elizabeth Wrancher graduated from the Indiana University School of Music in 1955, upon which time she traveled to Germany as a Fulbright Scholar. A lyric dramatic soprano, Elizabeth Wrancher remained in Europe for 13 years, singing 28 roles, and performing in major opera houses throughout Germany, Belgium, Switzerland and Austria. She was the first American to win first prize in the coveted International Music Contest; was an actor and singer in three German movies; and from 1953 to 1980, was a guest soloist with major orchestras in Germany and the United States. Her recordings are currently housed in the archives of the Salzburg Mozarteum in Augsburg.

She joined the voice faculty at the University of South Florida in 1968, and in 1974 left there to develop a vocal program at the University of Central Florida, where she remained for the next 29 years. She is noted for her vocal master classes, her service as an adjudicator, and her exceptional ability to train young voices. She received a research grant for "OPERA LIVE," which performed in the community and in public schools in the central Florida area.

Elizabeth Wrancher was a member of the National Arts and Letters, the National Association of Teachers of Singing, the Florida State Music Teachers Association, the Nation Teachers Association, the National Federation of Music Clubs, the Wednesday Music Club, Pi Kappa Lambda and Mu Phi Epsilon. Ms. Wrancher was alson an active member of the Board of Directors and Advisory Board of the Orlando Opera Company.

All items guaranteed to be authentic and original
unless otherwise noted.

"A book must be the axe
for the frozen sea inside us."

Franz Kafka

• AUTHOR: n/a
• EDITOR/ILLUSTRATOR/TRANSLATOR: Reduction by Carlo Carignani
• TITLE: Il tabarro / Suor Angelica / Gianni Schicchi
• DATE: 1918
• PLACE: Paris
• IMPRINT: G. Ricordi & C.
• FORMAT: 11" x 8 1/2"
• COLLATION/PAGINATION: pp. [i-x] 1-403; complete as issued
• EDITION: [First Edition]

Tight copy with minimal shelf wear. Odor free. Occasional notations by Roselle and Wrancher throughout.

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