The Diaries Of Giacomo Meyerbeer The Last Years 1857 1864
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The Diaries of Giacomo Meyerbeer: The last years, 1857-1864 by Giacomo Meyerbeer Pdf
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.
The Diaries of Giacomo Meyerbeer 1857-1864 by Robert Ignatius Letellier Pdf
Volume 4 is devoted to the last years (1857-64); while age and declining health saw a waning of the composer's personal optimism, this was hardly the case artistically speaking. This last volume contains a series of glossaries listing his compositions and the musical and theatrical works he attended throughout his life, as well as a bibliography of the composer, his contemporaries, and the operatic and social milieu of the times.
The Diaries of Giacomo Meyerbeer: The years of celebrity, 1850-1856 by Giacomo Meyerbeer Pdf
Volume 3 covers a time span that preeminently represents the period in the composer's life known as The Years of International Fame (1850-56). Confirmed as the major figure on the operatic scene, and freed from the more onerous duties of his official position, Meyerbeer was able to enjoy his most remarkable period of stability and renown, as the detailed and absorbing diary entries reveal. These years saw the composing, rehearsing, and staging of L'Etoile du Nord (1854), and his personal supervision of major productions in London, Dresden, Stuttgart, and Vienna.
A new and groundbreaking approach to the history of grand opera, Grand Illusion: Phantasmagoria in Nineteenth-Century Opera explores the illusion and illumination behind the form's rise to cultural eminence. Renowned opera scholar Gabriela Cruz argues that grand opera worked to awaken memory and feeling in a way never before experienced in the opera house, asserting that the concept of "spectacle" was the defining cultural apparatus of the art form after the 1820s. Parisian audiences at the Académie Royale de Musique were struck by the novelty and power of grand opera upon the introduction of gaslight illumination, a technological innovation that quickly influenced productions across the Western operatic world. With this innovation, grand opera transformed into an audio-visual spectacle, delivering dream-like images and evoking the ghosts of its audiences' past. Through case studies of operas by Giacomo Meyerbeer, Richard Wagner, and Giuseppe Verdi, Cruz demonstrates how these works became an increasingly sophisticated medium by which audiences could conjure up the past and be transported away from the breakdown of modern life. A historically informed narrative that traverses far and wide, from dingy popular theatres in post-revolutionary Paris, to nautical shows in London, and finally to Egyptian mummies, Grand Illusion provides a fresh departure from previous scholarship, highlighting the often-neglected visual side of grand opera.
The Diaries of Giacomo Meyerbeer: 1791-1839 by Giacomo Meyerbeer Pdf
Volume 1 of the diaries, which in toto present a sustained record of Meyerbeer's personal recollections from 1812-1864, covers the Early Years and Italy (1812-26) and the Parisian Triumphs (1827-39). A register of names, maps, illustrations, musical examples, and annotations complete the critical apparatus, Illustrated.
The Diaries of Giacomo Meyerbeer: 1840-1849 by Giacomo Meyerbeer Pdf
Volume 2 covers the 1840s, a period designated as the Prussian Years. From 1846 Meyerbeer's journal becomes a consistent daily record, resulting in one of the most sustained depictions of a contemporary artistic, theatrical, and musical milieu ever kept by a famous composer. Illustrated.
Meyerbeer’s Robert le Diable by Robert Ignatius Letellier Pdf
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.
Giacomo Meyerbeer by Marco Clemente Pellegrini Pdf
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.
The Collected Writings of Franz Liszt by Anonim Pdf
During his early years, Franz Liszt worked as a traveling piano virtuoso, his adventures highlighted by his entrée into the literary world as a correspondent for the most popular French journals of his time. In this second volume of Janita Hall-Swadley’s The Collected Writings of Franz Liszt, Liszt’s work as a music essayist and journalist is on full display. In his essays, readers will see the influence of the revolutionary theories of Hugues-Felicité Robert de Lamennais, Victor Hugo, and François-René de Chateaubriand as Liszt boldly calls for social reforms on behalf of musicians and musical institutions, from demands for a repertoire of church music of divine praise to the timely publication of inexpensive music editions. In addition to Liszt’s scandalous review of Sigismond Thalberg and the fiery exchange that ensued, the essays include his testimonies to living composers Giacomo Meyerbeer and Robert Schumann and the recently deceased Niccolò Paganini. Alongside the essay, this new translation of Liszt’s letters opens a window onto the composer’s immersion in the Italian countryside, where he paints a portrait of a rich musical landscape. Liszt regales his correspondents with amusing anecdotes at Sand’s Italian country estate in Nohant, describes the beautiful landscape and artistic treasures of Italy from his residence on Lake Como, defends himself from Heinrich Heine’s accusations of his “ill-seated” character, discusses the religious aesthetic of Raphael’s painting, and offers his thoughts on the interconnectedness of all the arts. Including two complete facsimile reproductions of the existing manuscripts for “De la situation des artistes” and “Sur Paganini à propos de sa mort,” Essays and Letters of a Traveling Bachelor of Music is a must-read for student and scholars of 19th-century classical music.
Meyerbeer Studies by Robert Ignatius Letellier Pdf
"In 1936 Meyerbeer's opera Les Huguenots achieved its 1,120[superscript th] performance at the Paris Opera. This extraordinary record is an indication of the vast fame and influence of its composer who was once a household name, like Verdi or Puccini. Now he is unknown to the ordinary opera lover. These essays represent something of an odyssey to seek out and know the shadowy figure behind so much divided opinion and long neglect. They represent attempts, at various stages over thirty years, to find Meyerbeer and enter the world of his remarkable operatic creations that once so characterized the musical life of European civilization."--Jacket.
Giacomo Meyerbeer by Robert Ignatius Letellier Pdf
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.
Meyerbeer’s Les Huguenots by Robert Ignatius Letellier Pdf
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.
The Operas of Giacomo Meyerbeer by Robert Ignatius Letellier Pdf
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.
