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Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1443801011
Category : Music
Languages : en
Pages : 195
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Book Description
Meyerbeer’s third Italian opera, Emma di Resburgo (Emma of Roxburgh) was premiered at the Teatro San Benedetto in Venice on 26 June 1819 only three months after Semiramide had appeared at Turin, and scored a success that far surpassed that of both of its predecessors. It was indeed the work that established Meyerbeer's reputation in Italy, and extended it even beyond the Alps into Germany. It was also the opera that brought him into close contact with Rossini, the most important figure of the second decade of the century, whose work was a major influence on all his contemporaries, Meyerbeer included. Rossini’s Eduardo e Cristina was given on 24 April and Emma on 26 June. Both operas triumphed, and the two composers became very good friends, a relationship that was to continue later in Paris. Meyerbeer’s opera went on to be staged in Venice, Milan, Genoa, Florence and Padua. Translated into German, it was given in Vienna, Dresden, Frankfurt, Berlin and Stuttgart, and even reached Warsaw in 1821. The story of Emma di Resburgo concerns dynastic rivalry in Lowland Scotland at the time of the Norman conquest; its libretto was the third written for Meyerbeer by Gaetano Rossi. The text covers the same material as that of one of Méhul's operas Héléna (1803). Mayr had also set this plot as Elena as recently as 1814, as an opera-semiseria, re-adapted for La Scala in the autumn of 1816, where Meyerbeer may well have heard it. The action of Emma, transferred from Provence to Scotland, takes place in the Castle of Tura and in Glasgow, and predates by three months Rossini's Walter Scott opera, La donna del lago (Naples, San Carlo, 24 September 1819), which is set in the Scottish Highlands. With its focus on a wild and violent Scotland, and with its themes of kidnap and usurpation, disguise and impersonation, lost relationships and restored fortunes, condemnation and rescue, Emma makes its own contribution to Italian Romantic opera. Meyerbeer’s fluent and beautiful appropriation of the Rossinian idiom is given a further dimension by the composer’s technical mastery and richness of invention, particularly evident in relation to the treatment of the Romantic subject. The new musical colours, appearing here even before similar developments in Rossini’s La donna del lago, are not used in the depiction of nature, but in the realistic situational transposition of the drama. This is particularly forward-looking in the big tableaux: the Chorus of Judges, rightly admired in its day, through-composed as an integral part of the action, and the graduated act 1 finale, dramatic in its contrasts. The sombre Death March in the act 2 finale, with its writing for the bassoons, looks forward to Meyerbeer’s French operas. The lieto fine, or happy ending of the opera, looking back to the eighteenth century, is still infused with the old ideals of the Enlightenment, typified in the clemency shown in the end by the tyrant. However, Meyerbeer had learned to infuse this Utopian spirit, so characteristic of a past epoch, with the vibrant new sensibility so characteristic of Romanticism. Emma di Resburgo marked a milestone in Meyerbeer’s career and brought him the greatest honour any composer could aspire to in Italy—a commission from La Scala Milan that would result in his next work, Margherita d’Anjou (1820).
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1443801011
Category : Music
Languages : en
Pages : 195
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Book Description
Meyerbeer’s third Italian opera, Emma di Resburgo (Emma of Roxburgh) was premiered at the Teatro San Benedetto in Venice on 26 June 1819 only three months after Semiramide had appeared at Turin, and scored a success that far surpassed that of both of its predecessors. It was indeed the work that established Meyerbeer's reputation in Italy, and extended it even beyond the Alps into Germany. It was also the opera that brought him into close contact with Rossini, the most important figure of the second decade of the century, whose work was a major influence on all his contemporaries, Meyerbeer included. Rossini’s Eduardo e Cristina was given on 24 April and Emma on 26 June. Both operas triumphed, and the two composers became very good friends, a relationship that was to continue later in Paris. Meyerbeer’s opera went on to be staged in Venice, Milan, Genoa, Florence and Padua. Translated into German, it was given in Vienna, Dresden, Frankfurt, Berlin and Stuttgart, and even reached Warsaw in 1821. The story of Emma di Resburgo concerns dynastic rivalry in Lowland Scotland at the time of the Norman conquest; its libretto was the third written for Meyerbeer by Gaetano Rossi. The text covers the same material as that of one of Méhul's operas Héléna (1803). Mayr had also set this plot as Elena as recently as 1814, as an opera-semiseria, re-adapted for La Scala in the autumn of 1816, where Meyerbeer may well have heard it. The action of Emma, transferred from Provence to Scotland, takes place in the Castle of Tura and in Glasgow, and predates by three months Rossini's Walter Scott opera, La donna del lago (Naples, San Carlo, 24 September 1819), which is set in the Scottish Highlands. With its focus on a wild and violent Scotland, and with its themes of kidnap and usurpation, disguise and impersonation, lost relationships and restored fortunes, condemnation and rescue, Emma makes its own contribution to Italian Romantic opera. Meyerbeer’s fluent and beautiful appropriation of the Rossinian idiom is given a further dimension by the composer’s technical mastery and richness of invention, particularly evident in relation to the treatment of the Romantic subject. The new musical colours, appearing here even before similar developments in Rossini’s La donna del lago, are not used in the depiction of nature, but in the realistic situational transposition of the drama. This is particularly forward-looking in the big tableaux: the Chorus of Judges, rightly admired in its day, through-composed as an integral part of the action, and the graduated act 1 finale, dramatic in its contrasts. The sombre Death March in the act 2 finale, with its writing for the bassoons, looks forward to Meyerbeer’s French operas. The lieto fine, or happy ending of the opera, looking back to the eighteenth century, is still infused with the old ideals of the Enlightenment, typified in the clemency shown in the end by the tyrant. However, Meyerbeer had learned to infuse this Utopian spirit, so characteristic of a past epoch, with the vibrant new sensibility so characteristic of Romanticism. Emma di Resburgo marked a milestone in Meyerbeer’s career and brought him the greatest honour any composer could aspire to in Italy—a commission from La Scala Milan that would result in his next work, Margherita d’Anjou (1820).
Author: Mark Everist
Publisher: Univ of California Press
ISBN: 0520928903
Category : Music
Languages : en
Pages : 350
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Book Description
Parisian theatrical, artistic, social, and political life comes alive in Mark Everist's impressive institutional history of the Paris Odéon, an opera house that flourished during the Bourbon Restoration. Everist traces the complete arc of the Odéon's short but highly successful life from ascent to triumph, decline, and closure. He outlines the role it played in expanding operatic repertoire and in changing the face of musical life in Paris. Everist reconstructs the political power structures that controlled the world of Parisian music drama, the internal administration of the theater, and its relationship with composers and librettists, and with the city of Paris itself. His rich depiction of French cultural life and the artistic contexts that allowed the Odéon to flourish highlights the benefit of close and innovative examination of society's institutions.
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1527539113
Category : Music
Languages : en
Pages : 305
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Book Description
Giacomo Meyerbeer is the only composer who wrote for three different and equally important eras of 19th century music. His works straddle the German Romantic school, Italian bel canto and French grand opera and opéra-comique. After his early career in Berlin, Darmstadt, Munich and Vienna, Meyerbeer famously travelled to Italy where he lived for ten years. His six operas written between 1817 and 1824 established Meyerbeer as a significant composer in Italy, with an international reputation growing more or less incrementally with each new work. The treasures of these works have been rediscovered in recent decades (1979-2019). This study examines these works in terms of origins, content and performance history.
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1527527581
Category : Music
Languages : en
Pages : 732
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Book Description
Giacomo Meyerbeer was once one of the most famous of all opera composers, enjoying into the twentieth century the same universal admiration and performance as a composer like Puccini does today. Through a series of adverse factors, his reputation was seriously damaged with the resurgence of nationalism and the growing ant-Semitism in France and Germany at the end of the nineteenth century, the propagation of a Wagnerian operatic aesthetic, the decline of the bel canto vocal tradition, and the disfavour manifested towards the heroism of French grand opera. All these factors, and especially the ban on his music in Nazi Germany, meant that Meyerbeer’s reputation was seriously overshadowed in the years after the Second World War. During the 1960s and 1970s, a tentative interest began to manifest itself, and with the advent of the new millennium, a growing rediscovery of his operas has been apparent. Not least in this process has been the recovery of all the composer’s private papers and their scholarly editing. His life and work have been the subject of a growing number of informed studies which have enabled radical reassessment. This volume takes a fresh look at this process of rediscovery by considering the composer in terms of the primary sources (diaries and letters) now available for forming a more complete and detailed biography unclouded by prejudicial or uninformed opinions. The extraordinary nature of Meyerbeer’s Jewish background and the role of this family in Prussian emancipation are also considered. Most importantly, however, his life and works are presented in a critical chronology that is fundamentally based on his own private papers, with testimony (both positive and negative) from many contemporary sources. A detailed iconography is integral to this process, and helps to bring Meyerbeer's story and music more vividly to life.
Author:
Publisher:
ISBN:
Category : Electronic journals
Languages : en
Pages : 752
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Book Description
Author: Mark Everist
Publisher: Taylor & Francis
ISBN: 100093912X
Category : History
Languages : en
Pages : 464
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Book Description
Nineteenth-century Paris attracted foreign musicians like a magnet. The city boasted a range of theatres and of genres represented there, a wealth of libretti and source material for them, vocal, orchestral and choral resources, to say nothing of the set designs, scenery and costumes. All this contributed to an artistic environment that had musicians from Italian- and German-speaking states beating a path to the doors of the Académie Royale de Musique, Opéra-Comique, Théâtre Italien, Théâtre Royal de l'Odéon and Théâtre de la Renaissance. This book both tracks specific aspects of this culture, and examines stage music in Paris through the lens of one of its most important figures: Giacomo Meyerbeer. The early part of the book, which is organised chronologically, examines the institutional background to music drama in Paris in the nineteenth century, and introduces two of Meyerbeer's Italian operas that were of importance for his career in Paris. Meyerbeer's acculturation to Parisian theatrical mores is then examined, especially his moves from the Odéon and Opéra-Comique to the opera house where he eventually made his greatest impact - the Académie Royale de Musique; the shift from Opéra-Comique is then counterpointed by an examination of how an indigenous Parisian composer, Fromental Halévy, made exactly the same leap at more or less the same time. The book continues with the fates of other composers in Paris: Weber, Donizetti, Bellini and Wagner, but concludes with the final Parisian successes that Meyerbeer lived to see - his two opéras comiques.
Author:
Publisher:
ISBN:
Category : Musicals
Languages : en
Pages : 1058
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Book Description
Author: Giacomo Meyerbeer
Publisher: Fairleigh Dickinson Univ Press
ISBN: 9780838638453
Category : Biography & Autobiography
Languages : en
Pages : 732
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Book Description
Volume 4 is devoted to the last years (1857-64); while age and declining health saw a waning of the composer's personal optimism. It contains a series of glossaries listing his compositions and the musical and theatrical works he attended throughout his life, as well as a bibliography.
Author: Marco Clemente Pellegrini
Publisher: Cambridge Scholars Publishing
ISBN: 144380083X
Category : Music
Languages : en
Pages : 610
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Book Description
This Guide has resulted from years of research on the papers and music of Giacomo Meyerbeer, and aims to provide a bibliographical aid and point of reference for further research. The first part presents the private papers connected to the composer and his principal librettist, Eugène Scribe—both archival and printed, with working papers and correspondence, as found in Berlin, Paris and some of the famous libraries of the world. The body of Part 2 draws together all the known resources on Meyerbeer's life and historical reputation—from full scale biographies and entries in reference books, through critical discussions to website resources to records of symposia. The third part provides material about his background with its unique mixture of Jewish and Prussian elements, the powerful role of the city of Berlin in his life and work. The fourth part lists bibliographic material for Meyerbeer's music, looking at his operas, grouped as German, Italian and French, with each individual entry providing a record of the scores available, both modern and historical, the various arrangements made from the operas during the heyday of their popularity, reviews of modern performances, discography, and bibliography of studies and publications pertinent to the wider cultural and historical contexts of the works. The next two sections constitute an extended record of material pertinent to the contemporaries of Meyerbeer. In the fifth section are select bibliographies of composers, authors, artists, performers, politicians, those who played some part in the composer's life, or anyone of significance in his wider contemporary circumstances. This is continued in the sixth part where the cultural and aesthetic elements of the composer's milieu, or life in the theatre during seventy years of the nineteenth century, are listed. The seventh part adds a bibliography of social and historical background, where the incidental issues of Judaism in nineteenth-century Europe, and the wider political, historical and geographical circumstances of Meyerbeer's life, his relentless travelling, and closely recorded experiences in Germany, France, Italy, Belgium, England, and Austria. The eighth section provides a thematic key to this extensive material. Part 9 provides an extended tripartite series of lists of the published scores, arrangements and some special studies of Meyerbeer over the period 1820 to 2005—in alphabetical, chronological and thematic ordering. The last two sections furnish the modern equivalent of this record of Meyerbeer and his compositions, showing in Part 11 the list of performances of his operas since the Second World War, and in Part 12, listing the recordings of the operas, both commercial and private, for the same period. The thirteenth and last section is iconographical, pictures that represent an interesting survey of the popular response to Meyerbeer in the 19th century.
Author: Robert Ignatius Letellier
Publisher: Fairleigh Dickinson Univ Press
ISBN: 9780838640937
Category : Music
Languages : en
Pages : 372
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Book Description
But these operas are far more than imitations: they show an apprehension of convention and genre that is nothing less than a dismantling of accepted formulas, and a highly original reconstruction of them."--Jacket.
