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Updated: June 25, 2025
Our constant visits to the theatre were strong incentives to a preparatory study of the plays of Goethe, Schiller, and Lessing. What noble acting we saw in that Dresden theatre! 'With regard to the opera, I have never seen Weber or Meyerbeer's works given so perfectly and conscientiously as at Dresden. Patteson's chief delight was the Midsummer Night's Dream, with Mendelssohn's music.
My friends, who had been joined by young Weisheimer from Osthofen, were very naturally amazed and delighted at the news I brought them. While we were at table Eckert was informed by telegram of Meyerbeer's death in Paris, and Weisheimer burst out in boorish laughter to think that the master of opera, who had done me so much harm, had by a strange coincidence not lived to see this day.
For instance, I had won the special favour of Mlle. Eberty, Meyerbeer's elderly niece. She had been an almost rabid partisan of my cause during the painful episode of the Tannhauser performances, and now seemed earnestly desirous of doing something to brighten my cheerless situation.
Unperformed as he was, Berlioz of course could not be expected to found a school; but Meyerbeer's success soon raised him up a host of imitators. In turn Halévy reacted upon Meyerbeer. Many passages in 'Les Huguenots' reflect the sober dignity of 'La Juive'; indeed, it is too often forgotten that the production of Halévy's opera preceded its more famous contemporary by a full year.
In the same manner, the exceptional successes of Spontini's and Meyerbeer's own operas were enhanced by the special activity of their composers.
Starting from Paris, where they were concocted together with Scribe, Meyerbeer's operas went the round of the opera-houses of Europe, and save in one or two quarters Meyerbeer lorded it over the opera-houses of Europe. It may be true enough that some of his mighty works had not been played at Riga it may even be true that Wagner had not seen the scores.
In his old age Meyerbeer seems to have looked back to the days of his Italian period, and thus, though occasionally conventional in form, the melodies of 'L'Africaine' have a dignity and serenity which are rarely present in the scores of his French period. There is, too, a laudable absence of that ceaseless striving after effect which mars so much of Meyerbeer's best work.
During Meyerbeer's stay in Berlin he introduced Jenny Lind to the Berlin public, as he afterward did indeed to Paris, her début there being made in the opening performance of "Das Feldlager in Schlesien," afterward remodeled into "L'Étoile du Nord." Meyerbeer returned to Paris in 1849, to present the third of his great operas, "Le Prophète."
Ilabeneck was conductor, and everything had been done in the way of scenery and costumes. The success was a remarkable one, and Meyerbeer's name became famous throughout Europe. Dr. Véron, in his "Mémoires d'un Bourgeois de Paris," describes a thrilling yet ludicrous accident that occurred on the first night's performance.
The next scene opens in the cathedral, where the coronation of the Prophet is to take place; and among all Meyerbeer's pageants none are more imposing than this, with its accompaniment of pealing bells, religious chants, the strains of the organ, and the stately rhythms of the great Coronation March. It is a splendid prelude to the dramatic scene which follows.
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