Relevant bibliographies by topics / Meyerbeer

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Meyerbeer'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Meyerbeer"

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Murphy, Kerry. "Race and Identity: Appraisals in France of Meyerbeer on his 1891 Centenary." Nineteenth-Century Music Review 1, no. 2 (November 2004): 27–42. http://dx.doi.org/10.1017/s1479409800001348.

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This article examines the ways in which critics and music historians in the Third Republic wrote about Meyerbeer's national and racial identity focusing particularly on the period around the time of the centenary of his birth, the period just before the explosion of the Dreyfus affair. The centenary of Meyerbeer's birth was celebrated in November 1891, by a performance to a packed audience at the Paris Opéra. Critics marked the centenary by writing substantial articles about Meyerbeer.Although many of Meyerbeer's contemporary critics conferred honorary French citizenship on him, by 1891 a significant number saw him as lacking any national identity. This should be seen in the context of a period in which French composers were intensely debating the issue of their own national identity, and clearly since the Franco-Prussian war, they were no longer so complacent about welcoming a German as a Frenchman. Yet the perceptions of Meyerbeer's lack of national identity were also often motivated by negative associations of Meyerbeer as Jew.Derogatory stereotypes of the Jewish composer are present in Meyerbeer criticism from the July Monarchy onwards, but in the early days of the Third Republic they change slightly in focus and also, as might be expected, become more overtly stated. This article presents a brief overview of this change in focus and concentrates on a number of discrete topics: eclecticism, nationhood, originality and artistic capitulation. The examination of this last topic leads to a short discussion of the impact of Wagner on the musical world at this time, and the effect that this had on Meyerbeer reception. The centenary celebrations occurred only two months after the success ofLohengrinat the Opéra (16 September 1891) and the proximity of the two events caused many critics to ponder whether the celebrations marked the end of Meyerbeer's reign at the Opéra and the beginning of the reign of Wagner. The centenary event forced critics to take a position on Meyerbeer's current standing in the operatic world.
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Rowden, Clair. "Meyerbeer." Nineteenth-Century Music Review 1, no. 2 (November 2004): 139–41. http://dx.doi.org/10.1017/s1479409800001506.

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Roccatagliati, Alessandro. "Margherita d'Anjou oder Die Italianisierung Pixérécourts." Die Musikforschung 64, no. 2 (September 22, 2021): 109–22. http://dx.doi.org/10.52412/mf.2011.h2.191.

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Die Verarbeitung des Librettos von Felice Romani in Giacomo Meyerbeers Oper "Margarete von Anjou" (Mailand, 1820) wird analysiert und aus mehreren Blickwinkeln betrachtet: (a) die Grundsätze der stilistischen Einheitlichkeit,von denen sich der Dichter inspirieren ließ (b) die sich daraus ergebende "Italianisierung / Regularisierung" nach den Regeln des semiseriösen Operngenre im gleichnamigen Drama des Guillaume Pixérécourt (c) die wahrscheinlich vom Komponisten verlangte besondere Fülle /Weite einiger musikalischer Nummern mit Blick auf die dichterische Vorformung / Präfiguration (d) die dramatisch-musikalischen Entscheidungen bezüglich der Umsetzung oder Abweichung von der sogenannten Präfiguration, die Meyerbeer bei der Vertonung angewandt hat.
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Popov, Denis Aleksandrovich. "The Ratio of Content and Entertainment in the Operas of Giacomo Meyerbeer." Культура и искусство, no. 10 (October 2022): 13–21. http://dx.doi.org/10.7256/2454-0625.2022.10.39004.

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The object of the study is the work of the French composer of the XIX century Giacomo Meyerbeer, the subject of the study is the informative and entertaining components of his work. The most famous works of the famous maestro are used for analysis: "Robert the Devil", "Huguenots", "The Prophet", "Dinora". The author examines the ratio of "meaningful" and "entertaining" components in the dramatic and musical construction of the opera from the viewpoint of the traditional art of the XIX century installation "Entertaining - to teach!". The aim of the study is to correct the thesis about entertainment as the main drawback of Meyerbeer's operas, since all works of stage art, including his contemporaries, cannot do without an entertainment component. The main conclusion of the study is that the meaningful, instructive side in Meyerbeer's works is formally preserved, which, at first glance, makes the reproaches of his critics meaningless. However, upon closer examination, it turns out that the content of the operas is emasculated, reduced to the level of platitudes and cliches, becomes contradictory and even ridiculous, while the entertainment side is strengthened and becomes the leading one. Thus, the reproach of entertainment against Meyerbeer should be corrected: their defect is not that they entertain, but that they lose a meaningful component. This model of the ratio of entertainment and content will later be used by modern mass art.
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Dean, Winton, Heinz Becker, Gudrun Becker, and Mark Violette. "Multifarious Meyerbeer." Musical Times 131, no. 1766 (April 1990): 201. http://dx.doi.org/10.2307/966262.

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Wittmann, Michael. "Meyerbeer and Mercadante? The reception of Meyerbeer in Italy." Cambridge Opera Journal 5, no. 2 (July 1993): 115–32. http://dx.doi.org/10.1017/s0954586700003943.

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‘First performed in 1840 and praised by Liszt for its orchestration and workman-ship, the score does not deny Meyerbeerian influence. The present recording, which sounds as if it has been taken from a live performance in the theatre, has a first-class cast and is altogether fascinating.’ The object of this encomium is La vestale by the Italian composer Saverio Mercadante (1795–1870), the first commercial recording of which was issued on CD in 1989. The quotation, taken from a leading record magazine, seems representative of the response that recordings of Mercadante's works can currently expect: scarcely a single review fails to mention Meyerbeer's positive influence on Mercadante. But how far is one in fact justified in linking these two composers?
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Tusa, Michael C. "Mime, Meyerbeer and the Genesis ofDer junge Siegfried: New Light on the ‘Jewish Question’ in Richard Wagner’s Work." Cambridge Opera Journal 26, no. 2 (July 2014): 113–46. http://dx.doi.org/10.1017/s0954586714000019.

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AbstractBetween the initial conception in 1848 of a project on the Siegfried legend comprising a single work,Siegfried’s Tod, and its subsequent expansion in 1851 with the addition ofDer junge Siegfriedas a ‘prequel’ about the hero’s early life, Richard Wagner turned against Giacomo Meyerbeer in public denunciations in ‘Das Judentum in der Musik’ (1850) andOper und Drama(1850–1). Changes in the treatment of the Mime–Siegfried relationship between 1848 and 1851 as well as similarities between Wagner’s characterisations of Meyerbeer and his portrayal of Mime in the 1851 sources suggest that Wagner’s animosity towards his former mentor informed a new conception of the dwarf. The troubled Mime–Siegfried relationship that crystallised in 1851 allowed Wagner to give symbolic, aesthetic form not only to his criticisms of Meyerbeer as man and artist but also to his own new creative path. That Meyerbeer by 1851 had come to represent to Wagner the personal and artistic deficiencies of all Jews necessarily also means that Wagner’s projection of Meyerbeer into Mime inDer junge Siegfriedcarried with it a more generally anti-Jewish message, as is frequently asserted in the literature.
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LETELLIER, R. I. "Bellini and Meyerbeer." Opera Quarterly 17, no. 3 (January 1, 2001): 361–79. http://dx.doi.org/10.1093/oq/17.3.361.

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Kaufman, T. "Wagner vs. Meyerbeer." Opera Quarterly 19, no. 4 (October 1, 2003): 644–69. http://dx.doi.org/10.1093/oq/kbg091.

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Newark, Cormac. "Metaphors for Meyerbeer." Journal of the Royal Musical Association 127, no. 1 (2002): 23–43. http://dx.doi.org/10.1093/jrma/127.1.23.

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The avowed inability of nineteenth-century Parisian critics to express in words their impressions of music (whether instrumental or lyric) doubtless has something to do with a more or less general lack of training, but in the case of the works of Meyerbeer it also points to a particular idea of opera. An intense interest in orchestration (outlined here in reviews of Robert le diable, Les Huguenots, Le prophète and L'Africaine; also in Berlioz's Grand traité d'instrumentation et d'orchestration modernes) is articulated in enthusiastic examination of the instruments themselves, and in striking metaphors of science, technology and manufacture. The presence of this gloss on Meyerbeer in otherwise Romantic appreciations (for example Balzac's Gambara) suggests a way of reading opera reception in tune with the urban culture of the period.
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Dissertations / Theses on the topic "Meyerbeer"

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Hervé, Emmanuel. "L'orchestre de l'Opéra de Paris à Travers le cas de Robert Le Diable de Meyerbeer (1831-1864)." Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2032.

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La thèse propose d’étudier l’orchestre de l’Académie de musique à travers Robert le diable (1831) de Giacomo Meyerbeer (1791-1864), l’une des œuvres les plus représentées dans le répertoire de l’opéra français romantique et dont la diffusion hors de France fut sans précédent. D’une part, l’orchestre est envisagé comme une entité sociale et économique à l’intérieur même de l’institution théâtrale. Il apparaît ainsi l’image d’une structure composée de musiciens d’expérience avec une recherche constante d’excellence de l’orchestre mais dont les disparités (salaires, conditions d’engagement et d’exercice) entre les différents membres de l’orchestre se révèlent être fortes. En tant que corps sonnant, d’autre part, l’étude de l’orchestre éclaire l’instrumentarium et les techniques d’orchestration de Robert le diable. Cette approche analytique offre la possibilité de cerner au mieux, d’un côté les spécificités musicales d’une œuvre représentative du répertoire de l’opéra français romantique, et de l’autre les procédés stylistiques de Meyerbeer qui par certains aspects préfigurent les drames verdiens et wagnériens
The thesis is here to study the musical academy’s orchestra by considering Robert le diable (1831) by Giacomo Meyerbeer (1791-1864), one of the most performed pieces of works in the repertory of the French romantic opera and whose diffusion outside France was unprecedented. First, the orchestra is considered as a social and economical entity within the theatrical institution. We can consider the image of a structure composed of experienced musicians doted with a constant search of excellence but whose disparities (salaries, job’s opportunities) between the various members of the orchestra are very strong. Now, as an entity or a musical structure, the study enlightens the instrumentarium and the techniques of orchestration in Robert le diable. That analytical approach allows us to better comprehend the musical specificities of a work symbolising the French romantic opera, and the stylistic processes of Meyerbeer which, by some aspects, prefigure the Verdian and Wagnerian dramas
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Miller, Alisha Leighanne. "Three Quintets by and for Heinrich Joseph Baermann." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1245270690.

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Tallián, Tibor. "The Prophet in the province." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-224633.

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The première of Meyerbeer\'s Le Prophète in the Hungarian National Theatre on June 12th 1850 was an event of unprecedented importance in the short history of professional opera in the Hungarian language. In my paper I am going to demonstrate the role of the orchestra in the success of this work. I shall combine this with the presentation of other outstanding aspects of the performance so that we shall be able to fairly judge the orchestra\'s contribution to the success.
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Metairie, Anne-Sophie. "Les représentations de la femme dans les quatre grands opéras de Giacomo Meyerbeer : reflets de l'histoire sociale et de l'itinéraire féminins." Tours, 2007. http://www.theses.fr/2007TOUR2002.

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Des années 1830 aux années 1860, les quatre grands opéras de Giacomo Meyerbeer remportent un immense succès sur la scène de l’Opéra de Paris : le rideau se lève sur Robert le Diable (1831), Les Huguenots (1836), Le Prophète (1849) et L’Africaine (1865), écrits avec la collaboration des librettistes Eugène Scribe, Germain Delavigne et Émile Deschamps. Nous analysons les représentations de la femme mises en lumière par l’œuvre meyerbeerienne. La combinaison de diverses disciplines - analyse musicale, dramaturgie, histoire socio-politique, réflexion théologique et littérature - permet une compréhension plus complète et plus juste des enjeux des représentations de la femme. Notre approche entend aussi développer des références à l’histoire des femmes sous l’angle politique, social et culturel. L’image de la femme véhiculée dans la société et dans les grands opéras, se fonde sur un système de représentations antagonistes. L’héroïne s’illustre par des actions nobles, dans le courage, l’honneur, la sainteté et l’abnégation. À l’opposé, la femme peut se définir par une attitude nuisible, dans la tyrannie et la perversion. Émancipation, répression, valorisation et dévalorisation se côtoient. C’est la place de ces femmes, leurs rôles et leurs pouvoirs, leurs silences et leurs paroles, la diversité de leurs représentations que nous voulons saisir
From the 1830’s to the 1860’s the four grand operas of Giacomo Meyerbeer played on the stage of the Parisian opera house, to great acclaim: Robert le Diable (1831), Les Huguenots (1836), Le Prophète (1849), et L’Africaine (1865) were written in collaboration with three different librettists - Eugène Scribe, Germain Delavigne and Emile Deschamps. Meyerbeer’s works lend themselves to an analysis of representations of women, and the best approach combines various disciplines - musical analysis, dramatic art, socio-political history, theological meanings, and literature - to ensure a more complete and accurate understanding of the issues involved. This undertaking also allows us to develop references to the history of women through historical, social and cultural points of view. The image of the woman, promoted in society and through grand operas, is based on a system of conflicting representations. The heroine distinguishes herself through worthy feats, bravery, honour, saintliness and abnegation. In contrast to this heroic role woman can also be characterized through harmful attitudes, tyranny and perversion. Indeed, these contrasting representations exist side by side, and are intertwined with one another: emancipation and suppression, promotion and depreciation, are represented side by side. We want to understand the place of women, their roles, power, silences and speeches: in short, the multi-faceted diversity of their representations
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Heidlberger, Frank. "Zwischen Berlin und Italien: Anmerkungen zu Giacomo Meyerbeers Frühwerk." Allitera Verlag, 2016. https://slub.qucosa.de/id/qucosa%3A21439.

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Oh, Esther. "Exploring the Pedagogical Aspects of Songs by Giacomo Meyerbeer: The Hidden Jewels of 19th-century Song Repertoire." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/378196.

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Music Performance
D.M.A.
Giacomo Meyerbeer (September 5, 1791-May 2, 1864) was one of the most celebrated composers in the 19th century and the leading exponent of French grand opera. Meyerbeer's operas were immensely popular; for example, his opera Robert le diable was performed 100 times in Paris alone and was featured on the programs of 77 theatres in ten countries, all within three years of its première. Meyerbeer's collaboration with Eugène Scribe, who was the most famous librettist of the century, began with Robert le diable (1831) and their partnership continued for the creation of Les Huguenots (1836), Le prophète (1849), and L'Africaine (1865). Meyerbeer's larger-than-life operas defined the genre of French grand opera. Meyerbeer was a serious, dedicated composer who composed mostly for the stage, but he also wrote sacred music, choral music, instrumental music, and songs. Meyerbeer composed over 50 songs, mostly mélodies and lieder that were translated and published in both German and French. He also composed some Italian canzonette. Meyerbeer's songs are rarely performed in recitals, however, they have originality, beauty, intensity, and theatricality and are worthy to be explored, performed, and cherished. His operas featured unconventional and sensational scenes, tragic love stories set in the middle of the whirlwind of political and religious clash, and bigger-than-life sets to transport his audience to exotic, faraway places. Did Meyerbeer lend the same magical touch to his songs? Was he able to create the same story line of epic portion as he did in his grand operas? My goal is to provide an introduction to the Meyerbeer song repertoire which as a result will encourage more voice teachers, students, and professional performers to incorporate Meyerbeer's outstanding, yet rarely performed songs into their recital programs. In the charts, Meyerbeer's songs are organized by three language groups: Italian, French, and German, and are organized alphabetically by title within each language group. Each chart has eight columns: number; song title; lyricist; year of composition; range; additional available singing translations; difficulty level; and comments. Six songs in total, with two songs from each language group, are chosen and analyzed to explore Meyerbeer’s songs in depth. The selected songs are from various points of Meyerbeer’s career, and are of different levels of difficulties, topics, lengths, and moods.
Temple University--Theses
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Jacobshagen, Arnold. "Oper als szenischer Text: Louis Paliantis Inszenierungsanweisungen zu Meyerbeers Le Prophète." Georg Olms Verlag, 2009. https://slub.qucosa.de/id/qucosa%3A75155.

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Tallián, Tibor. "The Prophet in the province." Musikgeschichte in Mittel- und Osteuropa ; 5 (1999), S. 117-126, 1999. https://ul.qucosa.de/id/qucosa%3A15628.

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The première of Meyerbeer\''s Le Prophète in the Hungarian National Theatre on June 12th 1850 was an event of unprecedented importance in the short history of professional opera in the Hungarian language. In my paper I am going to demonstrate the role of the orchestra in the success of this work. I shall combine this with the presentation of other outstanding aspects of the performance so that we shall be able to fairly judge the orchestra\''s contribution to the success.
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Le, Hir Sabine. "Wagner et la France (1830-1861) : Nouvelle approche des relations de Wagner avec la France à la lumière de son rapport à l'Allemagne et de la réception française de son oeuvre." Thesis, Tours, 2016. http://www.theses.fr/2016TOUR2004.

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Paris, et plus largement la France, ont préoccupé Wagner tout au long de sa vie. Entre 1830 et 1861, il ne séjourne pas moins de sept fois en France et même lorsqu’il se trouve en Allemagne, puis exilé en Suisse, il garde toujours Paris à l’esprit. Bien que Wagner se soit toujours présenté avant tout comme un Allemand et qu’il se soit toujours défini comme un compositeur allemand, la France, sorte de miroir dans lequel il ne cesse de considérer sa patrie, lui sert de référence pour définir une nouvelle Allemagne essentiellement artistique et appelée à devenir sur ce plan le modèle de l’Europe. Cette thèse se propose d’analyser les relations de Wagner et de la France entre 1830 et 1861 sous ce nouvel éclairage et d’étudier la réception française des œuvres wagnériennes. Cette dernière repose avant tout sur un malentendu et trouve son origine non pas dans la musique ou les écrits du compositeur, mais dans les différents articles de Liszt qui paraissent à partir de 1849
Throughout his lifetime, Richard Wagner was preoccupied by Paris, in particular, and by France, in general. Between 1830 and 1861 — the period upon which this thesis concentrates — he went to Paris on no fewer than seven occasions. Although Wagner always introduced himself as above all a German, and although he always considered himself to be a German composer, still, France—as a kind of mirror in which he never ceased to see the reflection of his homeland—always served him as a crucial point of reference as he attempted to define a new and essentially artistic Germany that was destined in this sense to become a model for all of Europe. It is in this new light, then, that I propose, in this thesis, to analyze the relations between Wagner and France and to study French reception of Wagner’s creations. That reception, based above all on a kind of misunderstanding, finds its beginnings neither in the composer’s music nor in the composer’s writings, but rather in Franz Liszt’s various articles on Wagner that began to appear in 1849
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Teeple, Samuel. "The New Reform Temple of Berlin: Christian Music and Jewish Identity During the Haskalah." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1525882116113423.

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Books on the topic "Meyerbeer"

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Scribe, Eugène. L'Africaine, Meyerbeer. Paris: Éditions Premières loges, 2021.

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Gunhild, Oberzaucher-Schüller, Linhardt Marion, and Steiert Thomas, eds. Meyerbeer, Wagner: Eine Begegnung. Wien: Böhlau, 1998.

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Gunhild, Oberzaucher-Schüller, and Moeller Hans, eds. Meyerbeer und der Tanz. Feldkirchen bei München: Ricordi, 1998.

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Arnold, Jacobshagen, and Pospíšil Milan, eds. Meyerbeer und die Opéra comique. Laaber: Laaber-Verlag, 2004.

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Tellier, Robert Ignatius Le. The operas of Giacomo Meyerbeer. Madison, [N.J.]: Fairleigh Dickinson University Press, 2006.

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1939-, Döhring Sieghart, and Jacobshagen Arnold, eds. Meyerbeer und das europäische Musiktheater. Laaber: Laaber-Verlag, 1998.

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Meyerbeer, Giacomo. The diaries of Giacomo Meyerbeer. Madison [N.J.]: Fairleigh Dickinson University Press, 1999.

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Monaco, Roberto. Meyerbeer: La vita : le opere. Torino (Italy): Musica Practica, 2022.

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S, Hrsg :. Dahms, ed. Meyerbeer Studien, Band 4: Meyerbeers B uhne im Gef uge der K unste. Paderborn: G. Ricordi & Co. B uhnen- und Musikverlag, 2005.

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Zimmermann, Reiner. Giacomo Meyerbeer: Eine Biographie nach Dokumenten. Berlin: Henschel, 1991.

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Book chapters on the topic "Meyerbeer"

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Gerhard, Anselm. "Meyerbeer und die Reaktion." In Die Verstädterung der Oper, 217–80. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03424-3_8.

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Gerhard, Anselm. "Meyerbeer und das »juste milieu«." In Die Verstädterung der Oper, 142–89. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03424-3_6.

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Wagner, Richard, and Thomas S. Grey. "Wagner Admires Meyerbeer (Les Huguenots)." In Richard Wagner and His World, edited by Thomas S. Grey, 335–46. Princeton: Princeton University Press, 2009. http://dx.doi.org/10.1515/9781400831784.335.

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Gerhard, Anselm. "Meyerbeer, Giacomo [Jakob Liebmann Meyer Beer]." In Metzler Komponisten Lexikon, 490–93. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_192.

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Döhring, Sieghart. "Die traumatische Beziehung Wagners zu Meyerbeer." In Richard Wagner und die Juden, 262–74. Stuttgart: J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-01720-8_16.

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Gerhard, Anselm. "Meyerbeer, Giacomo [Jakob Liebmann Meyer Beer]." In Komponisten Lexikon, 380–82. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_189.

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Gerhard, Anselm. "Meyerbeer, Giacomo [Jakob Liebmann Meyer Beer]." In Komponisten, 158–61. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_30.

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Everist, Mark. "Meyerbeer's Margherita D'Anjou." In Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris, 87–100. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003418474-4.

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Dahlhaus, Carl, and Norbert Miller. "Wagner, Meyerbeer und der Fortschritt: Zur Opernästhetik des Vormärz." In Europäische Romantik in der Musik, 781–93. Stuttgart: J.B. Metzler, 2007. http://dx.doi.org/10.1007/978-3-476-00021-7_12.

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Everist, Mark. "Fromental Halévy: From Opéra Comique to Grand Opéra." In Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris, 215–40. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003418474-8.

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Conference papers on the topic "Meyerbeer"

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Купец, Любовь. "“How meyerbeer stopped being a genius” (according to the materials of russian encyclopedic editions of the late 19th — early 21st centuries)." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.09.

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În ştiinţa rusă şi, cu atât mai mult, în practica creativă figura lui Giacomo Meyerbeer poate fi numită, pe bună dreptate, persona non grata. În zilele de azi nu există nici o monografie despre compozitor în limba rusă, dar şi întregul volum de texte despre el lasă mult de dorit. Tocmai din acest motiv este necesar să analizăm imaginea lui Meyerbeer pe exemplul unei serii de texte de orientare, oarecum, diferită, care se referă la publicaţii enciclopedice din Epoca de Argint până în zilele noastre. Această selectare a surselor nu este întâmplătoare: în analiza longitudinală a articolelor enciclopedice de mai bine de o sută de ani se poate observa nu numai percepţia normativă a lui Meyerbeer de către fiecare epocă, ci şi transformarea imaginii compozitorului. Ţinând cont de faptul că toate aceste publicaţii se găsesc gratuit în spaţiul internet, avem posibilitatea de a contura imaginea foarte pestriţă a chipului maestrului pentru neofiţi — până la urmă, aceste articole au fost scrise pentru o gamă largă de cititori şi formează imaginea compozitorului pentru publicul larg al timpurilor noastre.
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2

Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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Abstract:
The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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