Offenbach, Jacques

the working manuscript of the full score of the complete operetta in one act, written in dark brown ink on up to twenty-four staves per page, with deletions, revisions, alterations and corrections, sometimes extensive, in ink, blue and orange crayon and in pencil, with dialogue-cues written at the head of each number, the sections numbered in blue crayon, including an early version of the final printed number indicated in the score, the repeated sections frequently notated schematically with letters and numbers, otherwise substantially complete

115 pages, oblong folio (c.27 x 34.7cm), 24-stave "Lard-Esnault" paper, the gatherings numbered, with a few autograph title-pages and blanks, the bifolia numbered by the composer, modern half calf, a few stains 

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."

This is a composing score with extensive revisions and alterations throughout.  L'île de Tulipatan is an opera in one act from Offenbach's maturity, composed around the same time as Les brigands and displaying an equally satirical wit.  

The opera is notable for its sexual ambiguities and cross-dressing: Hermora is the young daughter of Cacatois's seneschal Romboïdal, although her part is sung by a tenor. The other main characters are Cacatois's son Prince Alexis (soprano), Romboïdal (tenor), who also sings in falsetto, and his wife Théodorine (soprano). Characteristic of Offenbach is the use of nonsense syllables, particularly in the 'rataplan' episode of 'No.3'. The piece was received with great enthusiasm: "delirium all the way; people only stopped crying with laughter to clap their hands" (Faris, p.159). The opera was given at the Bouffe-Parisiennes on 30 September 1868, with the tenor Jean-François Berthelier in the role of Cacatois XXII, Duc de Tulipatan. A contemporary printed vocal score was published, but not the full orchestral score. The manuscript mostly follows the vocal score by Heu of Paris (1868), but here the last number is a repeat of the couplet "Enfin un jour le père dit ça" that precedes the short wedding march. In the vocal score, this is replaced by a newly-composed but metrically similar number, the couplet "A la fin de la pièce".  It was staged in Vienna, Berlin and Graz in 1869 and in Stockholm, Moscow, London and Modena within the following four years.

The manuscript contains the following sections, which are numbered slightly differently in the published vocal score: 1) Ouverture, 15 pages; 2) 'un couplet', Hermora, "Vive le tintamarre ce qui me séduit", 6 pages; 3) Ensemble, "Vive le grand Cacatois", 25 pages; 4) 'No.3', duet for Alexis and Hermora, "J'aime tout ce qui sonne", 17 pages; 5) 'I'lle No.3...3 ^bis', for Hermora and Alexis, "Si comme vous j'etais un homme", 5 pages; 6) 'Air de Madame Thierret, No.4', for Thédorine, Hemora and Romboïdal, "Je vais chercher les petits cuilliers", 4 pages; 7) '[No.] 5', for Hermora and Romboïdal, "Tu connais ce secret terrible", 23 pages; 8) 'No.6', for Alexis and Hermora, "Quoi c'est vous...oui c'est moi", 8 pages; 9) 'No.7', [the 'Barcarolle-Bouffe'] for Thédorine, Romboïdal and Cacatois. "Dans Venizia la belle Pietro le Gondolier [sic]", 12 pages; 10) 'No.7 bis' ['Marche Nuptiale'], the title written in another hand: "Courrons a la chapelle", for orchestra, annotated at the end "reprenez le tutti et 3e Couplet du No.7"