Xavier LEROUX (1863-1919). Autograph music manuscript, La Fille de Figaro, [1914]; ca. 520 pages in-fol. Orchestral score for this comic opera in 3 acts (Act I missing). Based on a libretto by Maurice Hennequin and Hugues Delorme, La Fille de Figaro premiered on March 10, 1914 at the Apollo Theater, with Jane Marnac in the title role of Figarella, conducted by Aymé Kunc. Reynaldo Hahn, in Le Journal of March 12, 1914, gave a glowing review of Figaro's Daughter: "We do not see Figaro, who is dead, but he is constantly present in our memory; we find him younger, more charming than ever in the features of Figarella, his daughter, to whom he has bequeathed, along with his dexterity in handling the razor and the bearded dish, his devotion to lovers and his genial ability to help them. On the other hand, Chérubin is returned to us, but Chérubin is married, in his sixties, an ambassador and almost cheated on by his wife [...] M. Xavier Leroux, as a wise artist, has not failed to imitate his witty collaborators in their legitimate bias of quotations and references, and as a skilful musician he has done so with impeccable tact and measure. Here, it is a vibrant echo of Rossini, further on a fleeting reminder of Bizet, elsewhere still a rhythm or three notes of Mozart, whose delicious charm spreads for a few seconds like the precious perfume of a suddenly uncorked bottle. But these reminiscences, so skilfully brought in and then erased, hold only a tiny place in this very dense score for a simple comic opera - and sometimes even a little overloaded. The score contains a large number of pieces, many of which are charming and many of which are excellent, but all of which testify to the fact that this is a work dominated by its author by all the distance that separates the latter's artistic personality from the genre to which, for the sake of relaxation and recreation, she has momentarily adapted herself. The result is a real impression of security and, at the same time as one enjoys the music, which is by turns exuberant, parodic and tender, one is amused to discover the details in which his robust and serious talent has indulged in this vein of playfulness, and to observe the ingenious means employed by his highly expert pen to give a reduced orchestra both fluidity and power. The manuscript was used as a conductor, as evidenced by annotations in red or blue pencil. It also bears the traces of alterations: corrections, passages crossed out, numbers changed or deleted (folded or pinned sheets), etc. It includes the following numbers: Act II. Intermission. Nos. 8 Les Marchandes de frivolités, 9 and 9 bis Rondo de Chérubin, 10 Couplets de la Parisienne, 11 Quintette, 12 Chanson du z'homard, 13 Couplets de la Marquise, 14 Scène de la révérence, La Pavane, La Gigue, 15 Duetto de Miguel et de Figarella, 16-17, 18 Final (signed at the end by X. Leroux). Act III. Intermission. Nos. 19 Chorus of the clients of the Panier fleuri, Le pas du porto, and Scène du pas espagnol (Castillane), 20 Couplets of the smile, 21 Couplets of Miguel, 22 Couplets of Cherub, 23 Gypsy song, 24 Couplets of Sanchez, 25 Arietta of Figarella (Berceuse d'amour), 26 other arietta of Figarella (cut), 27 Final.