The Operas of Giacomo MeyerbeerWriting in 1891, the critic Eduard Hanslick observed: There is no need to found Meyerbeer societies, or to build a special Meyerbeer theater. All the public are his admirers, and the whole of Europe his Bayreuth. How things were to change in the twentieth century. Many opera lovers today have never heard of Meyerbeer. His life and work have been largely forgotten. There is little knowledge about his operas, let alone a perception of his operatic oeuvre as an integral artistic sequence. This book endeavors to redress some of this ignorance. It offers a presentation and reading of his stage works, the complete Meyerbeer operas, considered chronologically in terms of the unfolding of the composer's life and artistic concerns. |
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Page 2
... sense of theater , increasingly bear compar- ison with Rossini . But these operas are far more than imitations : they show an appre- hension of convention and genre that is nothing less than a dismantling of accepted formulas , and a ...
... sense of theater , increasingly bear compar- ison with Rossini . But these operas are far more than imitations : they show an appre- hension of convention and genre that is nothing less than a dismantling of accepted formulas , and a ...
Page 18
... sense of theater increasingly bear comparison with the dominating figure of the period , Rossini . But these two operas are far more than imitations : they show an apprehension of convention and genre that is nothing less than a ...
... sense of theater increasingly bear comparison with the dominating figure of the period , Rossini . But these two operas are far more than imitations : they show an apprehension of convention and genre that is nothing less than a ...
Page 19
... sense of the- atrical coherence . His contribution to the history of dramatic art , the details of his operas , the annals of his stage , deserve to be better known . This introduction considers Meyerbeer's operas in chronological order ...
... sense of the- atrical coherence . His contribution to the history of dramatic art , the details of his operas , the annals of his stage , deserve to be better known . This introduction considers Meyerbeer's operas in chronological order ...
Page 32
... sense of orchestral palette , and using recurring motifs in achieving characterization of considerable subtlety . Gluck was the principal model for Meyerbeer . The overture shows the young composer using the model of Iphigenie en Aulide ...
... sense of orchestral palette , and using recurring motifs in achieving characterization of considerable subtlety . Gluck was the principal model for Meyerbeer . The overture shows the young composer using the model of Iphigenie en Aulide ...
Page 35
... sense of dark foreboding . The orchestral effect is more remarkable for the avoidance of trom- bones and percussion ( Ex . 2 ) . An intense feel for orchestral color permeates the score , and nowhere better than in the scene of the vow ...
... sense of dark foreboding . The orchestral effect is more remarkable for the avoidance of trom- bones and percussion ( Ex . 2 ) . An intense feel for orchestral color permeates the score , and nowhere better than in the scene of the vow ...
Contents
ROBERT LE DIABLE | 107 |
LES HUGUENOTS | 131 |
EIN FELDLAGER IN SCHLESIEN | 164 |
VIELKA | 174 |
LE PROPHÈTE | 181 |
LÉTOILE DU NORD | 210 |
LE PARDON DE PLOĒRMEL DINORAH | 226 |
LAFRICAINE VASCO DA GAMA | 245 |
ROMILDA E COSTANZA | 50 |
SEMIRAMIDE SEMIRAMIDE RICONOSCIUTA | 57 |
EMMA DI RESBURGO | 62 |
MARGHERITA DANJOU | 68 |
LESULE DI GRANATA | 79 |
IL CROCIATO IN EGITTO | 87 |
The Illustrations Full Captions | 271 |
Notes | 279 |
Bibliography | 302 |
Indexes | 339 |
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Common terms and phrases
accompaniment action airs appeared aria arranged band bass becomes beer begins Berlin brilliant called cello character chorus completed composer concert Crociato in Egitto dance dark death depiction developed Dinorah dramatic duet edition effect expression famous Fantaisie Fantasia figure final flute Forte French German Giacomo Meyerbeer gives Grand hand harp heart Huguenots Italian Italy king L'Africaine L'Étoile du Nord l'opéra later Les Huguenots libretto London major March melody Meyerbeer Meyerbeer's opera Milan military minor motifs nature opening Opéra orchestral original overture Pardon de Ploërmel Paris performance piano Pianoforte piece play political present Press production Prophète Raoul reflected religious Robert le Diable role Romani scene score Scribe sense shows situation solo song soprano stage story symbol takes theme tion Vielka vocal writing York
Popular passages
Page 25 - If thou wilt give the Ammonites into my hand, 31 then whoever comes forth from the doors of my house to meet me, when I return victorious from the Ammonites, shall be the LORD'S, and I will offer him up for a burnt offering.
Page 297 - COURAGE and personal BRAVERY. Taken from her own Mouth when A Pensioner of Chelsea-Hospital, And known to be true by Many who were engaged in those great Scenes of ACTION. LONDON: Printed for and Sold by R. MONTAGU, at the BookWare-House, in Great Wylde- Street, 1740. PREFACE. IN the following life of Mrs. CHRISTIAN DAVIES, taken from her own mouth, we may remark examples of uncommon intrepidity but rarely found in the fair sex.
Page 285 - Drive my dead thoughts over the universe Like withered leaves to quicken a new birth! And, by the incantation of this verse, Scatter, as from an unextinguished hearth Ashes and sparks, my words among mankind! Be through my lips to unawakened earth The trumpet of a prophecy ! O, Wind, If Winter comes, can Spring be far behind?
Page 29 - For I desire steadfast love and not sacrifice, the knowledge of God, rather than burnt offerings [Hos.
Page 285 - Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one! Drive my dead thoughts over the universe, Like withered leaves to quicken a new birth! And, by the incantation of this verse, Scatter, as from an unextinguished hearth Ashes and sparks, my words among mankind...
Page 286 - ... never do. You want strength of mind to force them to obedience ; and unless you pay their established price, they will not be your voluntary servants. In this one instance they consent to obey ; I offer you the means of enjoying your mistress, and be careful not to lose the opportunity. Receive this constellated myrtle : while you bear this in your hand, every door will fly open to you.
Page 297 - MOTHER ROSS; Who, in several Campaigns Under King William and the Late Duke of Marlborough, In the Quality of A Foot-Soldier and Dragoon, Gave many signal Proofs of an unparallell'd Courage and personal Bravery.
Page 116 - They drop in like flakes of snow and are certainly very charming witches with their jaunty Parisian figures and most refined pirouettes! . . . The diabolical music and the dead rising from their tombs and the terrible darkness and the strange dance unite to form a stage effect almost unrivaled.119 The dramaturgical implications of the Gesamtkunstwerk are clear.
Page 116 - It was magnificent and terrific and diabolical and enchanting and everything else fine. The music and the show and the dancing! The famous witch's dance, in the freezing moonlight in the ruined abbey, was as impressive as I expected, though there was no Taglioni to lead the troop. They drop in like flakes of snow and are certainly very charming witches with their jaunty Parisian figures and most refined pirouettes!