Catalani, Alfredo

discussing the singers signed to sing in Loreley at Genoa and giving his blessing that, in Act 2, Toscanini could cut either the Waltz or the choral 'Epitalamio', but that the Waltz can in fact be performed without the chorus, enquiring about the success of the opera, discussing the funeral cortège in Act 3, leaving it all to Toscanini's good taste and telling him he will come to Genoa once La Wally has been staged (“...con tuo gusto artistico non puoi fare che bene....”), discussing singers for a planned production of Loreley in Palermo, and Darclée and Pinkert for a production of La Wally that Toscanini might conduct, alluding to a performance of Otello which he would rather discuss in person, and remarking on the forthcoming production of [Mascagni's] I Rantzau,

15 items, autograph address panels, 3 autograph envelopes, photograph showing Catalani with a group including Luigi Piccini, Milan, Maderno, Genoa, December 1891-November 1892 where dated, some dust-marking

H. Sachs, Toscanini (1978), p.41

Condition is described in the main body of the cataloguing, where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Toscanini was very close to Catalani, preferring his operas to those of the veristi, or even to Puccini's.  Catalani, however, felt neglected by Giulio Ricordi, who put his faith in Puccini as a more likely commercial prospect, and so he turned to the conductor, in whom he had implicit faith, for support and advice (the free hand given to Toscanini here for making cuts in one of his operas is quite exceptional). On his Italian début at Turin in 1886, Toscanini had conducted Catalani's opera Edmea; it had been a great success, with twenty curtain calls for Catalani and the performers. Toscanini also conducted Loreley (1890) many times: in Genoa, Palermo, Treviso, Turin, Buenos Aires and Montevideo. He named one of his daughters after the heroine of Catalani's most famous opera La Wally (1892); he did not conduct the première himself, although the event is mentioned in these letters, but he did perform it frequently thereafter. See lot 26 for an account of Catalani's death and funeral.