Giuseppe Verdi. Six autograph letters signed to Antonio Gallo, 1854-1875

Giuseppe Verdi

Six autograph letters signed ("G Verdi") to Antonio Gallo

i) ABOUT LA TRAVIATA [following the successful second production by Gallo on 6 May 1854], full of extravagant praise for Gallo, telling him he tears his hair and bows the knee before him, noting that he shall no longer call him a rascal of a director, but rather the phoenix of first violins and the eagle of impresarios, observing that 'impresario' is a word that reeks all too much of money, and is certainly not a word worthy of him who is speaking to him in verses of Dante, mentioning an article by Locatelli which he didn't read since he imagined that, after what he wrote before, it would be favourable, admonishing 'that scoundrel Piave' for not having sent him the article; Verdi concludes by extending his sincere congratulations to the artists, the orchestra, the chorus, and to all

...Mi cavo tanto di caepello, piego un ginocchio a terra, e adoro la tua onnipotenza! Da quì in avanti non ti chiamerò più Ludro di Direttore, ma Fenice dei Primi Violini, Aquila degli Impresarii!...

3 pages, 8vo (20.8 x 13.4cm), stationery with Verdi's embossed monogram ("GV"), autograph address-panel, modern typed transcription and English translation, Mandres, 16 May 1854, horizontal and vertical creases, small seal tears, some light spotting, dust-staining along folds of address-panel

ii) ABOUT THE REQUIEM [Gallo's theatrical staging of it with scenery at the Teatro Malibran in Venice], commenting rather sceptically on the reported success of the work, expressing doubt whether the performance was really better than in Paris, London and Vienna, noting that if Stolz has proclaimed it so then it must be believed, stating that he is sure that he assembled the best forces in Italy, though the outstanding ones appear to him to be outside Italy, adding that it is enough when we can praise, if there is something to praise, without claiming to be better than anybody else

...Io era certissimo che tu avresti riunito tutto quello che vi era di meglio in Italia, ma mi pajono fuori di luogo i paragoni, e contentiamoci di dir bene quanto è bene, senza dire siano meglio di tutti...

2 pages, 8vo (20.8 x 13.3cm), with autograph envelope, modern typed transcription and English translation, Sant'Agata, 12 July 1875, horizontal and vertical folds, light browning

iii) ABOUT THE REQUIEM, acknowledging the report of the receipts and expenses, noting that it went well, but that he too risked a lot, advising him not to acquire a taste for this sort of thing, and also mentioning Maria Waldmann ("...Brutto assai affare Waldmann!"), 1 page, 8vo (21 x 13.4cm), integral blank, with autograph envelope, modern typed transcription and English translation, Sant'Agata, 3 August 1875, traces of mount to lower edge, light spotting, creasing, minute tear to upper edge of first leaf

iv) ABOUT THE REQUIEM, noting that neither Ricordi nor Stolz had any obligation to inform him or to seek his approval for the performance in Florence, reproaching him however for introducing Sigr. Ducci to him whom he did not know, admitting that since he made the mistake of selling that poor mass, all of them may do as they like with it, adding that we artists sell everything ("...Ma noi...noi artisti vendiamo tutto!..."), 1 page, 8vo (21 x 13.4cm), integral blank, modern typed transcription and English translation, Sant'Agata, 9 August 1875, horizontal folds, light browning

v) complaining good naturedly that he is scarcely able to write a single word without it being published, and requesting that he should produce, or not produce, his operas without informing him or asking for his opinion, 1 page, 8vo (21 x 13.4cm), integral blank, with autograph envelope, modern typed transcription and English translation, Sant'Agata, 12 August 1875, horizontal and vertical fold, light spotting

vi) mentioning Signor Ducci, noting that he could have spared himself the expense of coming by sending him a telegram instead, explaining that he would never have thought of writing so discourteous a letter to the Mayor of Florence, 2 pages, 8vo (21 x 13.4cm), integral blank, modern typed transcription and English translation, Sant'Agata, 22 September 1875, light dust-staining along folds, some light spotting

Verdi's friend, the impresario, music publisher and ex-violinist Antonio Gallo, was one of the composer's strongest supporters in Venice. Gallo's successful second production of La Traviata at the Teatro San Benedetto on 6 May 1854 followed its celebrated failure at La Fenice in 1853. A likewise highly successful - staged - performance of Verdi's great religious masterpiece, the Requiem, was organised by Gallo at the Teatro Malibran in Venice in July 1875.

LITERATURE:

M.J. Phillips-Matz, Verdi (1993), pp.614-615