testing.json

[
   {
      "author or responsible": [
         {
            "name": "Rossini, Gioachino"
         }
      ],
      "catalog": "AC-26/05/1994-LN4304BOTT",
      "composer": "Rossini",
      "date info": {
         "date": [
            "20/05/1864"
         ],
         "date label": [
            "20/05/1864"
         ],
         "end date": [],
         "start date": [
            "05/05/1864"
         ]
      },
      "dealer": "Sotheby's, London, UK",
      "images": [
         {
            "file path": "STORED_IMAGES/Sotheby26051994Lot425.jpg",
            "name": "Sotheby26051994Lot425",
            "regular file present": true,
            "zoom files present": true
         }
      ],
      "item": "5317",
      "item description": "425. Rossini, Gioachino. Autograph manuscript of \"Un rien\", signed (\u00abG.Rossini\u00bb), comprising a setting for tenor and piano of the prayer \"Ave Maria Gratia Plena\", notated in brown ink, on three systems, each of three staves, a few corrections, 1 page, large oblong folio, in an album, the remaining leaves blank, modern half calf, marbled boards, 1864. Although Rossini only sets the first two lines of the prayer, the movement is complete in itself. Rossini often gave this title to album-leaves written during his long retirement from operatic music. \u00a32,500-3,000.",
      "item notes": "In \"P\u00e9ch\u00e9s de vieillesse\", vol. XIV, n. 9; published in \"Quaderni Rossiniani\" XI, p. 60.",
      "item type": [
         "musical manuscript"
      ],
      "lot": "425",
      "place": [
         "Paris"
      ],
      "title": "Un rien (Ave Maria Gratia Plena)"
   },
   {
      "author or responsible": [
         {
            "name": "Verdi, Giuseppe"
         }
      ],
      "catalog": "AC-26/05/1994-LN4304BOTT",
      "composer": "Verdi",
      "date info": {
         "date": [
            "2/09/1886"
         ],
         "date label": [
            "2/09/1886"
         ],
         "end date": [],
         "start date": [
            "09/09/1886"
         ]
      },
      "dealer": "Sotheby's, London, UK",
      "images": [
         {
            "file path": "STORED_IMAGES/Sotheby26051994Lot497.jpg",
            "name": "Sotheby26051994Lot497",
            "regular file present": true,
            "zoom files present": true
         }
      ],
      "item": "5324",
      "item description": "497. Verdi, Giuseppe. Highly important autograph letter signed. To Franco Faccio, conductor of the first performance of 'Otello\", with an autograph musical quotation fromthe \"Willow song\", describing how he would like it and the part of Desdemona to be sung, the letter written after a session coachin Romilda pantaleoni [Faccio's mistress], who was to create the role, and after Verdi had sent off to his published Ricordi Act IV \u00abin cui Desdemona ha la parte maggiore pi\u263cj difficile\u00bb: \u00ab... La Canzona del Salice present adifficolt\u00e0 grandissime tanto pel compositore come per l'artista esecutore. Bisognerebbe che questi, come la SSma Trinit\u00e0, avesse tre voci; una per Desdemona' un'altra per Barbara; (lancella); ed una terza voce per il =Salice salice salice. La voce della Siga Pantaleoni avvezza a parti violente, ha molte volte gli acuti un po' troppo mordenti; vi mette, dir\u00f2 cos\u00ec, troppo metallo. Se potesse abituarsi a cantare un po' pi\u263c1 di testa le riuscirebbe pi\u263cj facilmente lo smorzato, e la voce sarebbe anche pi\u263cj sicura e pi\u263cj giusta. io l'ho consiglilata a far quaesto studio, e voi colla vostra influenza dovestre darle lo stesso consiglio. Intanto non \u00e8 vero sempre che il re sia, Com'Ella dice, una pessima nota....\u00bb Verdi then quotes the phrase \u00absalce, salce, salce\u00bb, marking the first two bars \u00abp\u00bb and \u00abpi\u00f9 piano\u00bb, and the third bar with his famous \u00abppppp\u00bb (\u00ab... Vi \u00e8 un punto in cui gli riesce benissimo...\u00bb): \u00ab...Questa frase si ripete tre volte. L'ultima volta riesce bene; le altre due meno. V'ho detto francamente quello che mi pare; a vi dico ancora che quantunque la parte di Desdemona non si attagli perfettamente al suo modo di sentire, ed alla sua voce, pure suo molto talento, col suo istinto scenico e con buona volont\u00e0 e studio riuscir\u00e0 benissimo... notate poi che molte e molte cose le vanno a pennello!...\u00bb he ends his letter by apologising for his hurry in writing, begging Faccio to understand, and bidding him adieu, 4 pages, 8vo, traces of mounting at the edges 9with minor thinning to the paper), very slight spotting and repairs at folds, St Agata, 2 September 1886. The world premi\u00e8re of \"Otello\", one of the most important productions in the history of Italian opera, was given at la Scala on 5 February 1887, with Faccio conducting and his mistress singing the part of Desdemona. Such was the level of expectation about Verdi's materpiece that, by the time the poster was printed, all the seats had been sold and only standing room was available. the original Itlain text of this important letter is apparently unpublished; it appears in English translation in Hans Busch, \"Verdi's Otello and Simon Boccanegra (revised version) in Letters and Documents\", 2 volumes, oxford, 1988, I, 234-235. The \u00abppppp\u00bb in Verdi's letter was reduced to \u00abppp\u00bb in the score printed by Ricordi (Milan, 1958, p. 472). \u00a38,000-10,000",
      "item type": [
         "letter"
      ],
      "lot": "497",
      "place": [
         "Sant'Agata"
      ],
      "recipient or dedicatee": [
         {
            "name": "Faccio, Franco"
         }
      ],
      "title": "Otello"
   }
]