Author: Eugène ScribePublisher:
ISBN:
Category :
Languages : fr
Pages : 0
Book Description
Robert-le-Diable. (Paroles de Scribe et G. Delavigne, musique de J. Meyerbeer).
Author: Eugène ScribeRobert Le Diable;
Author: Giacomo MeyerbeerPublisher:
ISBN:
Category : Operas
Languages : en
Pages : 0
Book Description
Meyerbeer’s Robert le Diable
Author: Robert Ignatius LetellierPublisher: Cambridge Scholars Publishing
ISBN: 1443845515
Category : Music
Languages : en
Pages : 240
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.
Robert-le-Diable, Opéra en Cinq Actes. Paroles de MM. Scribe Et G. Delavigne
Author: Augustin Eugène SCRIBECatalogue of the Allen A. Brown Collection of Music in the Public Library of the City of Boston
Author: Boston Public Library. Allen A. Brown Collection of MusicPublisher:
ISBN:
Category : Music
Languages : en
Pages : 606
Book Description
Robert-le-diable
Author: Giacomo MeyerbeerRobert le diable : An opera in 5 acts by MM. Scribe and G. Delavigne. The music by Meyerbeer. With an easy translation line for line with the French, as represented at the King's Theatre, Haymarket
Author: Eugène ScribeRobert le diable. Opéra en 5 actes, paroles de (Eugène) Scribe et G. Delavigne. Musique de J. (Giacomo) Meyerbeer, ballets de Taglioni, décors de Cicéri. (Textbuch)
Author: Giacomo MeyerbeerRobert-le-diable
Author: Giacomo MeyerbeerPublisher:
ISBN:
Category : Operas
Languages : en
Pages : 18
Book Description
Giacomo Meyerbeer
Author: Marco Clemente PellegriniPublisher: Cambridge Scholars Publishing
ISBN: 144380083X
Category : Music
Languages : en
Pages : 610
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.