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Updated: June 25, 2025
Meyerbeer's besetting sin, his constant search for the merely effective, is even more pronounced in 'Le Prophète' than in 'Les Huguenots. The coronation scene has nothing of the large simplicity necessary for the proper manipulation of a mass of sound.
When the opera was produced the effect on the audience was certainly overwhelming, almost stupefying. The Dutchman had been accepted at Berlin on Meyerbeer's recommendation, but that recommendation Wagner probably thought of no great value, and after the success of Rienzi he determined to have it also played at Dresden, and the first performance took place at the beginning of 1843.
The various ways by which I might obtain recognition in Paris formed the chief topic of our discussions at that time. Our hopes were at first centred on Meyerbeer's promised letters of introduction.
Titiens to sing in London for three months, with the express understanding that she should not surpass that limit. She made her first bow before an English audience on April 13, 1858, as Valentine in Meyerbeer's chef d'oeuvre, Giuglini singing the part of Raoul for the first time.
He had been impressed with Meyerbeer's showiness and superficial sparkle: it had not yet occurred to him to test the music with the touchstone of truth. It is not at all hard for me to believe that he had at this time a sincere admiration for the Jewish autocrat of the opera world.
I say again, because Joly became bankrupt punctually every three months a fact which explains Meyerbeer's readiness to help him in that quarter. In desperation he seized the chance of earning a little money by writing the music for a vaudeville production, La Descente de la Courtille; but here again his luck was out: a more practised hand took the job from him.
Wagner he often listens to with pleasure, and especially the "Meistersinger," which is his pet opera. Of Italian operas Verdi's "Aida" and Meyerbeer's "Huguenots" are those he is most disposed to hear. He has been laughed at for once attempting musical composition.
But "Tannhäuser" has, in a few years, become more popular than "Lohengrin," thanks largely to its better staging and interpretation. Owing in a large measure to Fräulein Brandt's Fides and Fräulein Lehmann's Bertha, Meyerbeer's "Prophète" has been a success for several years.
He was at first an artistic disciple of Meyerbeer, and not only drew operatic inspirations from him, but was saved from starving by Meyerbeer's money and by his letters of introduction; later he came to abhor Meyerbeer's operas, and to despise the man himself and his ways.
I was very much surprised when, in consequence of my request, Meyerbeer introduced me to a certain M. Gouin, a post-office official, and Meyerbeer's sole agent in Paris, whom he instructed to do his utmost for me. Meyerbeer specially wished me to know M. Antenor Joly, director of the Theatre de la Renaissance, the musical theatre already mentioned.
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