hoffmansthal hugo (16 resultados)

Paperback. Condición: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condición: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

330 S. Frankfurt, guter Zustand, ungelesen, Einband befleck, Schnitt alterbedingt nachgedunkelt.

hardcover. Condición: Used-Very Good. Cloth, dj. Minor shelf wear. Else a bright, clean copy.

Hardcover. Condición: Good. First American edition. 12mo, 83 pages, decorated black cloth Von Hoffmansthal met Richard Strauss in 1900. HvH wrote "Elektra" as a drama, and then provided the libretti to Strauss's opera, "Elektra" in 1909, the first of multiple operas they did together.

21 : 11,5 cm. 44 Seiten, 2 Blatt. Original Pappband mit Rückenschild. Erste Ausgabe. - Rücken mit kleinen Läsuren.

Brossura. Abrasioni leggere in copertina. In buone condizioni Pagine: 122 Peso: 1.

Condición: Gut. 5. 4924 S. B1801-251 9783458319245 Sprache: Deutsch Gewicht in Gramm: 2500 Taschenbuch, Maße: 15 cm x 11 cm x 18.7 cm.

First Edition in English. Publisher's wrappers; pages a bit yellowed; about fine. All books described as first editions are first printings unless otherwise noted.

Leather Binding. Condición: Near Fine. Early printing. A good copy in later full brown calf, spine and front cover stamped in gilt, paste-paper endpapers, original covers bound in at front and rear (leather rubbed, upper hinge starting at top; spine a trifle brittle; several pencil notes in text). From the library and with the label of visionary mid-century architect Thornton Ladd. 451 pages.

8° 167 S. Kleine Illustration auf Deckblatt. 2. Aufl. Ill. OPbd. Außen bestoßen, innen erste u. letzte Seiten mit Flecken. Kopfgoldschnitt, sonst unbeschnitten. Besitzereintrag auf Vorsatz. . Sprache: de.

Paperback. Condición: Fine. First Edition. Wraps. Slim 8vo.pp. 24. Signed by the artist in pencil below each illustration. Limited Edition of 70 copies, this being No.70. Embossed stamp on rear end paper 'TW Nissam Mill Library.' Poetry. In Dutch. Four fine lithographs in colour by Jaroslav Kaiser. Original publisher's wraps in a soft brown, lettered purple. Fine. Signedes.

Condición: Sehr gut. 1. Auflage. 4924 S. Zustand sehr gut. Ein schonend gelesenes Exemplar. Schuber an Ecken oder Kanten leicht berieben. Einbände an Ecken oder Kanten leicht berieben. 453 Sprache: Deutsch Gewicht in Gramm: 2630 Taschenbuch, Maße: 15 cm x 11 cm x 18.7 cm.

6 Bände, 12 x 18,5 cm, 771 S., 863 S., 837 S., 837 S., 778 S., 775 S., schöne goldgepr. Kunstlederausgabe, äußerlich leicht angestaubt, einige Bände etwas schiefgelesen, sonst gut erhalten. 2000 gr.

Hardcover. Condición: Fine. First edition. Illustrated by Felix Hoffman. Quarto. 39 French-folded pages. Text in German. Vellum and fine clothcovered boards with cloth spine label. Fine in fine "collapsable" slipcase (two boards bound with fine cloth at three edges) with a couple of tiny soiled spots. One of 500 copies Signed by Felix Hoffman.

Signed boldly, in a black flair on the first page, by Jeritza, who introduced the role of the Empress in 1919. Jeritza (1887-1982) was one of the great dramatic sopranos of her day, noted for her acting ability, her beauty, her charisma. She was of Moravian origin and in the early part of her career, based at the Vienna State Opera, introduced a good number of important roles, but came to make her home base the Metropolitan Opera and ended up living most of her life in New Jersey. After retiring from the opera stage, Jeritza remained a public figure and was a regular presence at the Met. This performance of Die Frau Ohne Schatten had a stellar cast, with Leonie Rysanek as the Empress, James King as the Emperor, and Christa Ludwig as the Dyer's Wife. The role was one closely associated with Rysanek, who was responsible more than anyone else in reigniting interest in the opera, which had become relatively obscure but is now a part of the standard repertoire, and who basically owned the part for the rest of her career. Among other things, the challenging role was a perfect fit for Rysanek's voice, with its high tessitura for a dramatic soprano part, the range where Rysanek's voice had few peers.