"Robert le Diable" ("Robert the Devil") by Giacomo Meyerbeer is often regarded (with Auber's "La Muette de Portici" and Rossini's "Guillaume Tell") as the definitive statement in the 19th-century development of French grand opera from the tragedie lyrique of Lully, Rameau, Gluck and Spontini. The libretto by Eugene Scribe and Germain Delavigne was derived from the medieval legend of "Robert the Devil". The opera was first performed on 21 November 1831 at the Paris Opera, and brought Meyerbeer international celebrity. Although "Robert le Diable" has particularly reflected the varying fortunes of its composer, it remains a legend in the annals of opera. The fascinating story by the great libettist Eugene Scribe reveals a complex imagery and symbolism that touches on the deepest intuitions of human experience and personal development. This is much akin to the nature and effect of fairy tales, and exercises an archetypal unconscious appeal. The musical language, richly melodic and theatrically powerful, looks back to Rossini and the traditions of the bel canto heritage, and yet forges a new formal pliancy and dramatic urgency. Its effect on the history of opera was very substantial, and still needs to be fully assessed. The dramatic music, harmony and orchestration of Robert, its melodramatic plot, and its overwhelming stage effects (especially the famous act 3 "Ballet of the Nuns", a touchstone of dark Romanticism) made it an overnight sensation and instantly confirmed Meyerbeer as the leading opera composer of his age. Meyerbeer's style seemed to fuse German counterpoint, Italian melody, the pomp of Spontini and unprecedented orchestral riches in a unique and overwhelming artistic blend. The fame of the opera in its day made it a social phenomenon. Balzac depicted Meyerbeer as the ideal composer in his novel "Gambara"; for George Sand and Alexander Dumas (fils) Meyerbeer was the supreme lyric dramatist in history; the philosopher Herbert Spencer ranked him as the greatest opera composer of the century. For Heine Meyerbeer epitomized his epoch. Robert became one of the greatest successes in the history of opera. In the first two years of its history it was given in thirty-nine cities in France, twenty-three cities in the German-speaking lands, and seven other countries, a total of sixty-nine different theatres. It was performed 754 times at the Paris Opera until 28 August 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. Now, after many years of neglect, there is a resurgence of interest in this work and its fascinating appeal. This book is devoted to the story of this exceptional opera. It traces the story of its origins, its genesis and first performance, its 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 extent 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 term of the many different artistic responses they inspired over some sixty years.Biografía del autor:
Robert Ignatius Letellier has specialized in the music and literature of the Romantic Period. He has studied the work of Giacomo Meyerbeer (a four-volume English edition of his diaries, a collection of critical and biographical studies, a guide to research, two readings of the operas, as well as compiling and introducing editions of the complete libretti and non-operatic texts, and a selection of manuscripts facsimiles). He has also written on the ballets of Ludwig Minkus, compiled a series of scores on the Romantic Ballet, a sourcebook on the French opera-comique, a study of Daniel-Francois-Esprit Auber, and edited anthologies of Auber's overtures, ballet music, and a series of his operatic vocal scores.
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Descripción Cambridge Scholars Publishing, 2012. Hardcover. Estado de conservación: Brand New. 1st unabridged edition. 190 pages. 8.19x5.83x1.02 inches. In Stock. Nº de ref. de la librería zk1443841919