Meyerbeer Was One of the Most Significant Opera Composers of All Time

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Giacomo Meyerbeer was one of the most significant opera composers of all time. The four grand operas represented here brought him his greatest fame, with Les Huguenots being one of the most performed of all operas. Meyerbeer’s contributions to the French tradition of opéra-ballet acquired legendary status, including the ghostly Ballet of the Nuns from Robert le Diable; the exotic orchestral colour of the

Marche indienne in L’Africaine; and the virtuoso Ballet of the Skaters from Le Prophète in which the

dancers famously glided over the stage using roller skates.

DDD

8.573076

Giacomo

Playing Time

MEYERBEER

69:38

(1791-1864)

Ballet Music from the Operas

Les Huguenots (1836)

1 Act 3: Danse bohémienne
(Gypsy Dance)

L’Étoile du Nord (1854)

Suite Dansante
4:46

9:28

9 Act 2: Waltz

3:32 1:18 2:23 2:02

0 Act 2: Chanson de cavalerie

Robert le Diable (1831)

2 Act 2: Pas de cinq

Act 3: Ballet des Nonnes (Ballet of the Nuns)

! Act 1: Prayer

^{@ E}Lⁿe^trP^’ar^co^tp^eh^toè^Ate^ct(³1849)

Act 3: Ballet des Patineurs (Ballet of the Skaters)

# Waltz
3 Les Feux Follets et Procession des nonnes

3:53 5:00

2:19 3:20

4 Bacchanale

1:41 7:08 4:48 5:01

5 Premier Air de Ballet: Séduction par l’ivresse
6 Deuxième Air de Ballet: Séduction par le jeu
7 Troisième Air de Ballet: Séduction par l’amour
8 Finale
$ Redowa % Quadrilles des patineurs

^{^ G}L’^aA^lof^pricaine (1865)

2:34 & Act 4: Marche indienne

1:36

(Indian March)

8:51

Barcelona Symphony Orchestra

(Orquestra Simfònica de Barcelona i Nacional de Catalunya)

Michał Nesterowicz

Recorded at L’Auditori, Pau Casals Hall, Barcelona, Spain, from 3rd to 6th July, 2012 Produced, engineered and edited by Sean Lewis • Booklet notes: Robert Ignatius Letellier

Cover: Le ballet de Robert le Diable, 1871,

by Edgar Degas (1834-1917) (akg-images / Erich Lessing)

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The Meyerbeer Libretti: Grand Opéra 1 Robert Le Diable Online

cXKt6 [Get free] The Meyerbeer Libretti: Grand Opéra 1 Robert le Diable Online [cXKt6.ebook] The Meyerbeer Libretti: Grand Opéra 1 Robert le Diable Pdf Free Richard Arsenty ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #4398313 in Books 2009-03-01Format: UnabridgedOriginal language:EnglishPDF # 1 8.00 x .50 x 5.70l, .52 #File Name: 1847189644180 pages | File size: 19.Mb Richard Arsenty : The Meyerbeer Libretti: Grand Opéra 1 Robert le Diable before purchasing it in order to gage whether or not it would be worth my time, and all praised The Meyerbeer Libretti: Grand Opéra 1 Robert le Diable: 1 of 1 people found the following review helpful. Liobretto for Meyerbeer's "Robert le Diable"By radamesAn excellent publication which contained many stage directions not always reproduced in the nineteenth-century vocal scores and a fine translation. Useful at a time of renewed interest in this opera at the Royal Opera, Covent Garden Giacomo Meyerbeer, one of the most important and influential opera composers of the nineteenth century, enjoyed a fame during his lifetime hardly rivaled by any of his contemporaries. This eleven 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. About the AuthorRichard Arsenty, a native of the U.S.
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Opera Productions Old and New 5. Grandest of the Grand Grand Opera Essentially a French phenomenon of the 1830s through 1850s, although many of its composers were foreign. Large-scale works in five acts (sometimes four), calling for many scene-changes and much theatrical spectacle. Subjects taken from history or historical myth, involving clear moral choices. Highly demanding vocal roles, requiring large ranges, agility, stamina, and power. Orchestra more than accompaniment, painting the scene, or commenting. Substantial use of the chorus, who typically open or close each act. Extended ballet sequences, in the second or third acts. Robert le diable at the Opéra Giacomo Meyerbeer (Jacob Liebmann Beer, 1791–1864) Germany, 1791 Italy, 1816 Paris, 1825 Grand Operas for PAris 1831, Robert le diable 1836, Les Huguenots 1849, Le prophète 1865, L’Africaine Premiere of Le prophète, 1849 The Characters in Robert le Diable ROBERT (tenor), Duke of Normandy, supposedly the offspring of his mother’s liaison with a demon. BERTRAM (bass), Robert’s mentor and friend, but actually his father, in thrall to the Devil. ISABELLE (coloratura soprano), Princess of Sicily, in love with Robert, though committed to marry the winner of an upcoming tournament. ALICE (lyric soprano), Robert’s foster-sister, the moral reference-point of the opera. Courbet: Louis Guéymard as Robert le diable Robert le diable, original design for Act One Robert le diable, Act One (Chantal Thomas, designer) Robert le diable, Act Two (Chantal Thomas, designer) Robert le diable, Act
16 Giacomo Meyerbeer. Robert Le Diable, 1831. the Nuns' Ballet. Meyerbeer's Synesthetic Cocktail Debuts at the Paris Opera

Downloaded from http://direct.mit.edu/grey/article-pdf/doi/10.1162/GREY_a_00030/689033/grey_a_00030.pdf by guest on 24 September 2021 Giacomo Meyerbeer. Robert le diable, 1831. The nuns’ ballet. Meyerbeer’s synesthetic cocktail debuts at the Paris Opera. Bibliothèque Nationale de France. 16 Downloaded from http://direct.mit.edu/grey/article-pdf/doi/10.1162/GREY_a_00030/689033/grey_a_00030.pdf by guest on 24 September 2021 The Prophet and the Pendulum: Sensational Science and Audiovisual Phantasmagoria around 1848 JOHN TRESCH Nothing is more wonderful, nothing more fantastic than actual life. —E.T.A. Hoffmann, “The Sand-Man” (1816) The Fantastic and the Positive During the French Second Republic—the volatile period between the 1848 Revolution and Louis-Napoléon Bonaparte’s 1851 coup d’état—two striking per - formances fired the imaginations of Parisian audiences. The first, in 1849, was a return: after more than a decade, the master of the Parisian grand opera, Giacomo Meyerbeer, launched Le prophète , whose complex instrumentation and astound - ing visuals—including the unprecedented use of electric lighting—surpassed even his own previous innovations in sound and vision. The second, in 1851, was a debut: the installation of Foucault’s pendulum in the Panthéon. The installation marked the first public exposure of one of the most celebrated demonstrations in the history of science. A heavy copper ball suspended from the former cathedral’s copula, once set in motion, swung in a plane that slowly traced a circle on the marble floor, demonstrating the rotation of the earth. In terms of their aim and meaning, these performances might seem polar opposites.
ROBERT LE DIABLE Music by Giacomo Meyerbeer Libretto by Eugène Scribe & Germain Delavigne First Performance: Opéra [Académie Royale], Paris, November 21, 1831

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16 Giacomo Meyerbeer. Robert Le Diable, 1831. the Nuns' Ballet

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