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1
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 wagnériensThe 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
2
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.
4
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 saisirFrom 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
5
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 PerformanceD.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.
9
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 1849Throughout 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
10
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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Cruz, Gabriela Gomes da. "Giacomo Meyerbeer's l'Africaine and the end of grand opera /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb400362003.
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Armstrong, Alan. "Meyerbeer's Le prophete : a history of its composition and early performances /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487677267732368.
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Armstrong, Alan. "Meyerbeer's "Le Prophète" : a history of its composition and early performances /." Ann Arbor (Mich.) : UMI dissertation services, 1994. http://catalogue.bnf.fr/ark:/12148/cb37443097s.
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Harder, Caroline Hilda. "The roles of "mothers" in opera as exemplified by Fides (Meyerbeer’s Le Prophete); Kostelnicka (Janacek’s Jenufa); Mrs. Patrick de Rocher (Heggie’s Dead Man Walking)." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/22489.
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Mothers in operatic plots are mostly absent; when present, they are generally sung by a mezzo-soprano and are considered “supporting” roles. This dissertation attempts to elucidate what led to the scarcity of mothers as important characters in opera, and to the apparent stereotyping of the role with the mezzo-soprano voice type. Chapter 1 introduces the topic, while chapter 2 explores the aesthetics of the singing voice throughout various periods during which the “preferred vocal ideal” changed, as vocal ranges were equated with the personification and stereotyping of certain character types. Influences which affected the evolution of plot paradigms are also investigated. A summary of opera libretti from the seventeenth to the twentieth century supports historical evidence drawn from the above context and identifies the mother characters in these operas (see Appendix A). Chapters 3, 4, and 5 offer three case studies of the treatment of operatic “mothers”
who are central to the plot of the operas in which they, respectively, appear: Fids from Giacomo Meyerbeer’s Le Prophète, Kostelnicka from Janácek’s Jenufa, and Mrs. Patrick De
Rocher from Jake Heggie's Dead Man Walking. Each includes an investigation of the
opera’s context, the dramatic study of the mother character, an analysis of the musical
settings of the drama, and performance aspects. A brief interview with Jake Heggie is included in Appendix B. This study concludes that the presence/absence of the mother character is influenced by vocal aesthetics as conventionalized by Metastasian opera seria plots, and by subsequent
opera plot conventions formulated through socio-cultural values. Despite the difference in time, place and musical style among the operas studied, the problems and feelings of the mother character have not changed much from the nineteenth century to the twentieth. Whether sung by a mezzo-soprano, or, occasionally, by a soprano, a timeless stereotype of the mother character emerges: a woman tormented between the love for her children and her moral duties.
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Wilberg, Rebecca S. "The mise en scène at the Paris Opera-Salle Le Peletier (1821-1873) and the staging of the first French Grand Opéra : Meyerbeer's Robert le diable /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37059884m.
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Chen, Wei-Shen, and 陳韋伸. "Giacomo Meyerbeer under Anti-Semitism." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/83817771817620200911.
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碩士高雄師範大學
音樂學系
97
Giacomo Meyerbeer (1791-1864) is the most important representative of French Grand Opera. His compositions had been performed all over the world and were put in the spotlight of discussion by the music critics at that time as well. In this way, it accelerated the development of the music critics. In addition, Giacomo Meyerbeer supported many musicians and litterateurs who became more and more salient in this field, such as Richard Wagner (1813-1883), Jenny Lind (1820-1887), and Heinrich Heine (1797-1856). According to the very personal contributions mentioned above, Giacomo Meyerbeer played a significant role of the musical milieu during the nineteenth century. Matthias Brzoska had argued, “Giacomo Meyerbeer is as important as a leading role for European music history in the nineteenth century.” However, since the 19th century, the compositions of the once popular opera composer were performed in concerts as rare as an “extinct volcano”. Moreover, his name was seldom present in western music history. The conversion of his music status in the sense of his popularity, revealed a concern of his Semitic background, that is: The anti-Semitism might have dominant impact on the value of musical contribution of Giacomo Meyerbeer in the nineteenth century. This concern makes me focus on the relationship between the contribution of Giacomo Meyerbeer and the issue of anti-Semitism. The severe and negative critics from the anti-Semitism in Germany against him had effects on the critics of later generation, but also on Meyerbeer’s musical contribution in the 19th century. Therefore, in the approach of anti-Semitism, I will identify his prominent contributions and his significant status in the musical culture in the nineteenth century through representation of his compositional techniques for Grand Opera, the contribution of his compositions to the musical criticism, and his patronage for coming musicians and litterateurs.
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Liu, Chien-Pi, and 劉千碧. "Scarlatti Cantata《Solitudine avvenne, apriche colli'notte》and Meyerbeer Opera( Dinrah )Aia《Ombre Legere》." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/87361262673819255041.
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CHUNG, MENG-HSIN, and 鍾孟芯. "An Interpretation and Analysis of Four French Mélodies by Giacomo Meyerbeer Chant des moissonneurs vendéens, Ma barque légère, Sicilienne." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/gd3ct5.
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Shea, Nicholas. "METER IN FRENCH AND ITALIAN OPERA, 1809–1859." 2017. https://scholarworks.umass.edu/masters_theses_2/536.
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Current and historical methods of metric analysis often assume that the first beat of a metric group is stronger than the second. This, however, is not the case in all repertoires. For example, a study by William Rothstein (2011) demonstrates that Verdi’s midcentury operas often place emphasis on even-numbered beats. This paper shows this metric trend to be even more prevalent in a corpus of 208 nineteenth-century operatic excerpts, (1809-1859).
I present a formal model that classifies phrases according to anacrusis length and prosodic accent, showing where large-scale metric accents fall within a phrase. This model produces three metric types which align with Rosthstein’s (2011) previous work. Compositional and historical features (e.g., language, premiere date, librettist, etc.) were tracked alongside type in order to determine whether preferences for certain metric forms were more prevalent in certain contexts. This indeed was the case. For instance, use of even-emphasis meter increases over time, even though odd-emphasis meter remains most common. Individual composers also show a significantly distinguishable preference toward each type of meter. These results not only confirm that the highest concentration of even-emphasis meter occurs in Verdi’s midcentury operas (Rothstein 2011), but that Verdi is the primary user of this type overall. I also demonstrate that language and composer nationality do not significantly affect an excerpt's metric type; only Verdi shows distinction in these areas. With this finding, I argue against using nationalist language to identify metric types and instead propose suggestions that better-reflect an updated understanding of nineteenth-century metric conventions.
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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." 2020. https://slub.qucosa.de/id/qucosa%3A72562.
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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.