Meyerbeer's "Robert le Diable": the premier "opéra romantique"
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Newcastle
Cambridge Scholars Publ.
2012
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XV, 220 S. Ill., Notenbeisp. |
| ISBN: | 9781443841917 |
Internformat
MARC
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Datensatz im Suchindex
| _version_ | 1804149791702122496 |
|---|---|
| adam_text | Contents
List of Figures
.............................................................................................xi
Abbreviations
..........................................................................................xvii
Introduction
.................................................................................................1
1.
The Origins
..............................................................................................3
2.
The Sources
..........................................................................................15
The Plot
................................................................................................17
3.
The Libretto
...........................................................................................25
Development
........................................................................................25
The Dramatic Unities
...........................................................................26
The Social Element
..............................................................................26
The Role of Grace
................................................................................27
Romantic Love
.....................................................................................27
The Scenic Symbolism
........................................................................28
4.
The Symbolic Undertow
........................................................................37
The Pastoral World
..............................................................................38
A Christian Theology
...........................................................................38
A Psychological Insight
.......................................................................38
Bertram: A Gothic/Byronic Anti-Hero
................................................39
Alice: An Emblematic/Allegorical Heroine of Romance
.....................39
Robert: A Disturbingly Modern Uncentred Self
..................................40
The Waverley Hero
..............................................................................40
The Fairy-Tale Subtext
........................................................................41
The Criteria of Fairy Tales
.............................................................42
Fairy Tales and the Family Romance
..........................................43
The Jungian Search for the Self
.....................................................44
The Influence of Faust
........................................................................46
The Nodal Temptation
.........................................................................47
viii
Meyerbeer s Robert
le Diable: The Premier Opéra Romantique
A Spiritual Significance
.......................................................................48
Heaven
...........................................................................................48
Hell.................................................................................................49
The Eternal Feminine
...........................................................................49
The Path of Purgation and the Mystical Ascent
...................................50
5.
Scribe s Achievement
............................................................................55
Bertram s Evocation
............................................................................55
Isabelle s
Cavatina
...............................................................................56
The Arias for Alice
..............................................................................59
The Chorus
...........................................................................................66
6.
The Music
..............................................................................................69
Orchestral Colour (Leitklang/Klangmotif)
..........................................69
Formal Innovation
................................................................................70
Melodic Pliability
................................................................................71
Principles of Coherence
.......................................................................71
The Romantic Mood
............................................................................72
The Role of Nature
..............................................................................72
Tonality
................................................................................................73
The Overture
........................................................................................74
The Use of Leitmotif
...........................................................................75
The Tournament
.............................................................................75
The Four Strokes of Hell
................................................................76
The Ballad of Robert
le Diable.......................................................
76
The Storm Motif
.............................................................................77
The Scenic Fresco or Tableau
..............................................................77
The Two Levels of Significance (duets)
..............................................78
7.
The Ballet Sequences
.............................................................................83
1)
The
Pas de cinq
...............................................................................83
2)
The Ballet of the Nuns
.....................................................................84
The Dark Pastoral
................................................................................85
Grand Scenic Construction and Melodic Adaptation
...........................86
1)
The
Valse Infernale.........................................................................
87
2)
The Procession
des nonnes..............................................................
87
3)
The
Bacchanale...............................................................................
89
4)
The Three Airs
de danse
and
Choeur dansé
....................................90
The Influence of The Ballet of the Nuns
..............................................92
Contents ix
8.
Critical Reaction
..................................................................................101
The Impact of the Score
.....................................................................104
9.
The Influence of the Opera
..................................................................107
Arrangements
.....................................................................................108
10.
The Performance History
...................................................................
Ill
In Paris
...............................................................................................
Ill
In Europe
...........................................................................................112
European Statistics
.............................................................................114
In the World
.......................................................................................115
The Twentieth Century
......................................................................115
Modern Revivals
................................................................................116
11.
The Iconography
................................................................................129
The Costumes and Scenery
................................................................129
The Ballet of the Nuns
.......................................................................131
12.
Contemporaneous Art and Robert
le Diable......................................
145
The Scene at the Cross
.......................................................................145
George Sand
.......................................................................................154
Jenny
Lind.........................................................................................156
Scenic Kaleidoscopes
.........................................................................160
The Liebig Cards
...............................................................................165
Conclusion
...............................................................................................177
Bibliography
............................................................................................183
Index
........................................................................................................211
Robert
le Diable
by
Giacomo
Meyerbeer is regarded as a musical milestone, a definitive statement
in the
lÇth-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.
AH of these are examined in terms of the the many different
pictorial and plastic responses they inspired over some
60
years.
Robert Ignatins 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 of the French
opéra-comique, a
study of
Daniel-François-Esprit Auber,
and edited anthologies of
Auber s overtures, ballet music, and a series of his operatic vocal scores.
Cover image: The Trio from Act
5
of Robert
le Diable
(the second
of two paintings by
François-Gabriel
Lepadle,
Paris
1835)
978-1-4438-4191-7
www.c-s-p.org
|
| any_adam_object | 1 |
| author | Letellier, Robert Ignatius 1953- |
| author_GND | (DE-588)136190065 |
| author_facet | Letellier, Robert Ignatius 1953- |
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| author_sort | Letellier, Robert Ignatius 1953- |
| author_variant | r i l ri ril |
| building | Verbundindex |
| bvnumber | BV040666101 |
| classification_rvk | LP 64930 |
| ctrlnum | (OCoLC)835282052 (DE-599)BVBBV040666101 |
| discipline | Musikwissenschaft |
| format | Book |
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| spelling | Letellier, Robert Ignatius 1953- Verfasser (DE-588)136190065 aut Meyerbeer's "Robert le Diable" the premier "opéra romantique" by Robert Ignatius Letellier Newcastle Cambridge Scholars Publ. 2012 XV, 220 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Meyerbeer, Giacomo / 1791-1864 / Robert le diable Meyerbeer, Giacomo / 1791-1864 / Criticism and interpretation Meyerbeer, Giacomo 1791-1864 Robert le diable (DE-588)300205562 gnd rswk-swf Meyerbeer, Giacomo 1791-1864 (DE-588)118581945 gnd rswk-swf Oper (DE-588)4043582-9 gnd rswk-swf 1\p (DE-588)4006804-3 Biografie gnd-content Meyerbeer, Giacomo 1791-1864 Robert le diable (DE-588)300205562 u DE-604 Meyerbeer, Giacomo 1791-1864 (DE-588)118581945 p Oper (DE-588)4043582-9 s Digitalisierung UB Bayreuth application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025492760&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Bayreuth application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025492760&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Letellier, Robert Ignatius 1953- Meyerbeer's "Robert le Diable" the premier "opéra romantique" Meyerbeer, Giacomo / 1791-1864 / Robert le diable Meyerbeer, Giacomo / 1791-1864 / Criticism and interpretation Meyerbeer, Giacomo 1791-1864 Robert le diable (DE-588)300205562 gnd Meyerbeer, Giacomo 1791-1864 (DE-588)118581945 gnd Oper (DE-588)4043582-9 gnd |
| subject_GND | (DE-588)300205562 (DE-588)118581945 (DE-588)4043582-9 (DE-588)4006804-3 |
| title | Meyerbeer's "Robert le Diable" the premier "opéra romantique" |
| title_auth | Meyerbeer's "Robert le Diable" the premier "opéra romantique" |
| title_exact_search | Meyerbeer's "Robert le Diable" the premier "opéra romantique" |
| title_full | Meyerbeer's "Robert le Diable" the premier "opéra romantique" by Robert Ignatius Letellier |
| title_fullStr | Meyerbeer's "Robert le Diable" the premier "opéra romantique" by Robert Ignatius Letellier |
| title_full_unstemmed | Meyerbeer's "Robert le Diable" the premier "opéra romantique" by Robert Ignatius Letellier |
| title_short | Meyerbeer's "Robert le Diable" |
| title_sort | meyerbeer s robert le diable the premier opera romantique |
| title_sub | the premier "opéra romantique" |
| topic | Meyerbeer, Giacomo / 1791-1864 / Robert le diable Meyerbeer, Giacomo / 1791-1864 / Criticism and interpretation Meyerbeer, Giacomo 1791-1864 Robert le diable (DE-588)300205562 gnd Meyerbeer, Giacomo 1791-1864 (DE-588)118581945 gnd Oper (DE-588)4043582-9 gnd |
| topic_facet | Meyerbeer, Giacomo / 1791-1864 / Robert le diable Meyerbeer, Giacomo / 1791-1864 / Criticism and interpretation Meyerbeer, Giacomo 1791-1864 Robert le diable Meyerbeer, Giacomo 1791-1864 Oper Biografie |
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