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Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 144384697X
Category : Music
Languages : en
Pages : 353
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Book Description
Giacomo Meyerbeer, one of the most important and influential opera composers of the nineteenth century, enjoyed a fame during his lifetime hardly rivalled by any of his contemporaries. This ten volume set provides in one collection all the operatic texts set by Meyerbeer in his career. The texts offer the most complete versions available. Each libretto is translated into modern English by Richard Arsenty; and each work is introduced by Robert Letellier. In this comprehensive edition of Meyerbeer's libretti, the original text and its translation are placed on facing pages for ease of use. The eleventh volume presents the fourth of Meyerbeer’s grands opéras, and his final work. By 1860 long-imposed labor had started to tell upon the composer’s health: he knew that he must concentrate on the “navigator project” which he had started twenty years earlier if he intended to finish it. Meyerbeer died on 2 May 1864, the day after the completion of the copying of the full score of this his last opera, Vasco da Gama. Minna Meyerbeer and César-Victor Perrin, the director of the Opéra, entrusted the editing of a performing edition to the famous Belgian musicologist François-Joseph Fétis, while the libretto was revised by Mélesville. The original title of L’Africaine was restored out of deference to public expectation. Much of the music and action was suppressed, in spite of the strain this inflicted on the internal logic of the story. While L'Africaine is not lacking in the grandeur of statement and stirring climaxes for which the composer was so famous, there is a new intimacy, a new intensity of melancholic lyricism. Like its famous predecessors, it is basically an historical work, derived from the period of sixteenth-century Renaissance. The account of Vasco da Gama's voyage of discovery around the Cape of Good Hope and conquest of Calicut (1497-98) is subjected to a fictional treatment that raises many interesting issues. The framework is historical, but most of the characters and course of action are not; in fact the end of the opera, in the suicide of the heroine, suddenly leaves the terra firma of reality, and transports us into the mystical realms of the spirit. It is this mixture of modes that is central to the dramaturgy of L'Africaine, a confusion of history and fairytale, ancient certainties and challenging discoveries, in the creation of a new mythology. There is also originality in formal developments, with the great tenor scene in act 4 providing a new malleability in handling the constraints of shape and genre: recitative, arioso and cabaletta have a fluent integration in trying to explore the text more pointedly. L’Africaine was produced on 28 April 1865, a great posthumous tribute to its famous creators. The Ship Scene, the exotic Indian act, and the Scene of the Manchineel Tree exerted a fascination on audiences, and elicited new praise. The work full of melodic beauty and rapturous lyricism, began a triumphal progress through the world, beginning with the big stages of London and Berlin.
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 144384697X
Category : Music
Languages : en
Pages : 353
Get Book Here
Book Description
Giacomo Meyerbeer, one of the most important and influential opera composers of the nineteenth century, enjoyed a fame during his lifetime hardly rivalled by any of his contemporaries. This ten volume set provides in one collection all the operatic texts set by Meyerbeer in his career. The texts offer the most complete versions available. Each libretto is translated into modern English by Richard Arsenty; and each work is introduced by Robert Letellier. In this comprehensive edition of Meyerbeer's libretti, the original text and its translation are placed on facing pages for ease of use. The eleventh volume presents the fourth of Meyerbeer’s grands opéras, and his final work. By 1860 long-imposed labor had started to tell upon the composer’s health: he knew that he must concentrate on the “navigator project” which he had started twenty years earlier if he intended to finish it. Meyerbeer died on 2 May 1864, the day after the completion of the copying of the full score of this his last opera, Vasco da Gama. Minna Meyerbeer and César-Victor Perrin, the director of the Opéra, entrusted the editing of a performing edition to the famous Belgian musicologist François-Joseph Fétis, while the libretto was revised by Mélesville. The original title of L’Africaine was restored out of deference to public expectation. Much of the music and action was suppressed, in spite of the strain this inflicted on the internal logic of the story. While L'Africaine is not lacking in the grandeur of statement and stirring climaxes for which the composer was so famous, there is a new intimacy, a new intensity of melancholic lyricism. Like its famous predecessors, it is basically an historical work, derived from the period of sixteenth-century Renaissance. The account of Vasco da Gama's voyage of discovery around the Cape of Good Hope and conquest of Calicut (1497-98) is subjected to a fictional treatment that raises many interesting issues. The framework is historical, but most of the characters and course of action are not; in fact the end of the opera, in the suicide of the heroine, suddenly leaves the terra firma of reality, and transports us into the mystical realms of the spirit. It is this mixture of modes that is central to the dramaturgy of L'Africaine, a confusion of history and fairytale, ancient certainties and challenging discoveries, in the creation of a new mythology. There is also originality in formal developments, with the great tenor scene in act 4 providing a new malleability in handling the constraints of shape and genre: recitative, arioso and cabaletta have a fluent integration in trying to explore the text more pointedly. L’Africaine was produced on 28 April 1865, a great posthumous tribute to its famous creators. The Ship Scene, the exotic Indian act, and the Scene of the Manchineel Tree exerted a fascination on audiences, and elicited new praise. The work full of melodic beauty and rapturous lyricism, began a triumphal progress through the world, beginning with the big stages of London and Berlin.
Author: Richard Arsenty
Publisher: Cambridge Scholars Publishing
ISBN: 1443846899
Category : Music
Languages : en
Pages : 222
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Book Description
Giacomo Meyerbeer, one of the most important and influential opera composers of the nineteenth century, enjoyed a fame during his lifetime hardly rivalled by any of his contemporaries. This ten volume set provides in one collection all the operatic texts set by Meyerbeer in his career. The texts offer the most complete versions available. Each libretto is translated into modern English by Richard Arsenty; and each work is introduced by Robert Letellier. In this comprehensive edition of Meyerbeer's libretti, the original text and its translation are placed on facing pages for ease of use. The eleventh volume presents the fourth of Meyerbeer’s grands opéras, and his final work. By 1860 long-imposed labor had started to tell upon the composer’s health: he knew that he must concentrate on the “navigator project” which he had started twenty years earlier if he intended to finish it. Meyerbeer died on 2 May 1864, the day after the completion of the copying of the full score of this his last opera, Vasco da Gama. Minna Meyerbeer and César-Victor Perrin, the director of the Opéra, entrusted the editing of a performing edition to the famous Belgian musicologist François-Joseph Fétis, while the libretto was revised by Mélesville. The original title of L’Africaine was restored out of deference to public expectation. Much of the music and action was suppressed, in spite of the strain this inflicted on the internal logic of the story. While L'Africaine is not lacking in the grandeur of statement and stirring climaxes for which the composer was so famous, there is a new intimacy, a new intensity of melancholic lyricism. Like its famous predecessors, it is basically an historical work, derived from the period of sixteenth-century Renaissance. The account of Vasco da Gama's voyage of discovery around the Cape of Good Hope and conquest of Calicut (1497-98) is subjected to a fictional treatment that raises many interesting issues. The framework is historical, but most of the characters and course of action are not; in fact the end of the opera, in the suicide of the heroine, suddenly leaves the terra firma of reality, and transports us into the mystical realms of the spirit. It is this mixture of modes that is central to the dramaturgy of L'Africaine, a confusion of history and fairytale, ancient certainties and challenging discoveries, in the creation of a new mythology. There is also originality in formal developments, with the great tenor scene in act 4 providing a new malleability in handling the constraints of shape and genre: recitative, arioso and cabaletta have a fluent integration in trying to explore the text more pointedly. L’Africaine was produced on 28 April 1865, a great posthumous tribute to its famous creators. The Ship Scene, the exotic Indian act, and the Scene of the Manchineel Tree exerted a fascination on audiences, and elicited new praise. The work full of melodic beauty and rapturous lyricism, began a triumphal progress through the world, beginning with the big stages of London and Berlin.
Author: Giacomo Meyerbeer
Publisher:
ISBN: 9781847189714
Category : Music
Languages : en
Pages : 232
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Book Description
Giacomo Meyerbeer, one of the most important and influential opera composers of the nineteenth century, enjoyed a fame during his lifetime hardly rivalled by any of his contemporaries. This ten volume set provides in one collection all the operatic texts set by Meyerbeer in his career. The texts offer the most complete versions available. Each libretto is translated into modern English by Richard Arsenty; and each work is introduced by Robert Letellier. In this comprehensive edition of Meyerbeer's libretti, the original text and its translation are placed on facing pages for ease of use. The first volume presents Meyerbeer's first three youthful operas, all of them German Singspiele: the grandiose Biblical drama of Jephthah and his fated daughter (Jephtas Gelubde, 1812), the colourful Arabian Nights tale of the man who becomes caliph for a day (Wirt und Gast, 1813), and a popular celebration of Prussian victory in the War of Liberation (Das Brandenburger Tor, 1814).
Author: Giacomo Meyerbeer
Publisher:
ISBN:
Category : Operas
Languages : en
Pages : 362
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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: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1443860840
Category : Music
Languages : en
Pages : 308
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Book Description
On 29 February 1836, Les Huguenots, a grand opera by Giacomo Meyerbeer (1791–1864), with words by Eugène Scribe (1791–1861) and Émile Deschamps (1791–1871), was performed for the first time, at the Paris Opéra. It was to be one of the most successful productions ever staged at the Opéra, with 1,126 performances in Paris over the next hundred years, and, in the process, breaking all box office records. It became Meyerbeer’s most popular work, with thousands of stagings throughout the world. Les Huguenots is a huge exploration of faith, tolerance, hatred, extermination, love, loyalty, self-sacrifice and hope in despair. It is the first panel in a central diptych on the Reformation, at the heart of the wider tetralogy of Meyerbeer’s grand operas, where issues of power, religion and love are examined in a variety of modes. For five years after the sensational premiere of Robert le Diable, Meyerbeer worked on this gigantic drama, partly adapted by Scribe from Prosper Mérimée’s Chronique de Charles IX. Meyerbeer matches the text in drama, splendour and ceremony: it combines theatricalism with profound depths of feeling. Its gorgeous colouring, intense passion, consistency of dramatic treatment, and careful delineation of character secured for this work vast fame and influence. It was an epoch-making opera, an enduring monument to Meyerbeer’s fame. The music for this sombre tapestry of the Saint Bartholomew Massacre springs from the core of the vivid action, and creates a panoramic alternation of moods, that capture the tragedy of religious intolerance and personal anguish in one of the most fraught events in history, when some 30,000 French Protestants were murdered during 24 August 1574. Meyerbeer’s music rises to the occasion, and reaches sublime heights of music drama, especially in the fourth and fifth acts, with the Blessing of the Daggers (one of the most electric scenes in all opera), the more powerful Love Duet, and the Trio of Martyrdom in the last moments of the opera. Spectacle was incorporated in the plot, in Meyerbeer’s concern to conjure up the couleur locale of those heroic times. In spite of the overwhelming dramatic power and the instrumental riches of the score, the most significant aspect of the work came to be regarded as the supremacy of the seven principal vocal parts. Performances of Les Huguenots at the Metropolitan Opera in New York during the 1890s were among the most famous in operatic history.
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1443845515
Category : Music
Languages : en
Pages : 240
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Book Description
Robert le Diable by Giacomo Meyerbeer is regarded as a musical milestone, a definitive statement in the 19th-century development of French grand opéra from the tragédie lyrique of Lully, Rameau, Gluck and Spontini. The libretto by Eugène Scribe and Germain Delavigne was derived from the medieval legend of “Robert the Devil”. First performed on 21 November 1831 at the Paris Opéra, the work brought Meyerbeer international celebrity. Robert le Diable remains a legend in the annals of opera. The fascinating story reveals a complex imagery and symbolism that touches on the deepest intuitions of human experience and personal development, and exercises an archetypal unconscious appeal akin to the nature of fairy tales. The musical language, richly melodic and theatrically powerful, looks back to Rossini and the traditions of bel canto, and yet forges a new formal pliancy and dramatic urgency. The harmony and orchestration, the melodramatic plot, and overwhelming stage effects (especially the famous act 3 Ballet of the Nuns, a touchstone of dark Romanticism) confirmed Meyerbeer as the leading opera composer of his age. His style fuses German counterpoint, Italian melody, French grandeur, and unprecedented orchestral riches in a unique and overwhelming artistic blend. Robert became one of the greatest successes in the history of opera. In the first two years of its history it was given in 69 different theatres, and was performed 754 times at the Paris Opéra until 1893. This huge success was reflected in more than 160 transcriptions, arrangements, paraphrases and fantasias for the orchestra, military band, dance band, piano and other solo instruments written between 1832 and 1955. After many years of neglect, there is a resurgence of interest in this work with its fascinating appeal. This book is devoted to the story of this exceptional opera. It traces the origins, the première, the performance history, and also considers the special characteristics of both the libretto and the music. One of the most intriguing aspects of Robert le Diable was the nature of the iconography generated by its most famous scenes. Artists and illustrators responded in many different ways to the Gambling Scene, the Scene at the Cross, the Cloister Scene for the legendary Ballet of the Nuns, and the great trio in act 5. All of these are examined in terms of the the many different pictorial and plastic responses they inspired over some 60 years.
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: 1443868485
Category : Music
Languages : en
Pages : 579
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Book Description
This book explores the relationship between the Bible and the world of music, an association that is recorded from ancient times in the Old Testament, and one that has continued to characterize the cultural self-expression of Western Civilization ever since. The study surveys the emergence of this close relationship in the era following the end of the Roman Empire and through the Middle Ages, taking particular note of the role of Gregorian chant, folk music and the popularity of mystery, morality and passion plays in reflection of the Sacred Scripture and its themes during those times. With the emergence of polyphony and the advent of the Reformation in the sixteenth century, the interaction between the Bible and music increased dramatically, culminating in the evolution of opera and oratorio as specific genres during the Renaissance and the Early Baroque period. Both these genres have proved essential to the interplay between sacred revelation and the various types of music that have come to determine cultural expression in the history of Europe. The book initially provides an overview of how the various themes and types of Biblical literature have been explored in the story of Western music. It then looks closely at the role of oratorio and opera over four centuries, considering the most famous and striking examples and considering how the music has responded in different ages to the sacred text and narrative. The last chapter examines how biblical theology has been used to dramatic purpose in a particular operatic genre – that of French Grand Opera. The academic apparatus includes an iconography, a detailed bibliography and an index of biblical and musical references, themes and subjects.
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.
