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Updated: June 25, 2025
The experiment vindicated Meyerbeer's judgment, and Jenny Lind could then and there have signed a contract with the manager, whom Meyerbeer had taken care to have present, had it not been for the spiteful opposition of a distinguished prima donna, who had an undue influence over the managerial mind.
My feelings with regard to the latter alternative were intensified by the impression made upon me by Meyerbeer's opera The Prophet, which had just been produced and which I had not heard before.
Biographers already differ about the date of Meyerbeer's birth, some asserting that it took place in 1791, while the majority agree that the day was September 5, 1794.
The heavenly airs belie their origin, and when the composer abandons the infernal motives he returns to them as soon as possible, fatigued with the effort of keeping aloof from them. Melody, the golden thread that ought never to be lost throughout so vast a plan, often vanishes from Meyerbeer's work. Feeling counts for nothing, the heart has no part in it.
The result to-day Meyerbeer's fall and Wagner's triumph shows that courage, like honesty, is, in the long run, the best policy, and, like virtue, its own reward. It is important to bear in mind all these lessons that Wagner learned from his predecessors, as it helps to explain the enormous influence he exerted on his contemporaries.
The truth lies between the two, as is wont to be the case in such extremes of opinion. Meyerbeer's remarkable talent so nearly approaches genius as to make the distinction a difficult one. He can not be numbered among those great creative artists who by force of individuality have molded musical epochs and left an undying imprint on their own and succeeding ages.
The Emperor illustrated his lecture with sketches drawn by himself of the positions of the united French and Spanish fleets during the battle. Almost every year sees some specialty produced at the Royal Opera in Berlin. This year it was Meyerbeer's "Les Huguenots," performed in the presence of the French Ambassador in Berlin, Monsieur Jules Cambon, and two directors of the Paris Opera.
This was the last of Meyerbeer's operas written in the Italian style. In 1827 the composer married, and for several years lived a quiet, secluded life. The loss of his first two children so saddened him as to concentrate his attention for a while on church music. During this period he composed only a "Stabat," a "Miserere," a "Te Deum," and eight of Klopstock's songs.
This half-African vintage gave his face a deeper flush, for his passionate and wonderful sketch of Meyerbeer's opera had made him turn a little pale. "That nothing may be lacking to this composition," he went on, "the great artist has generously added the only buffo duet permissible for a devil: that in which he tempts the unhappy troubadour.
They were evidently in a dilemma with regard to her repertoire, which consisted mainly of so-called grand operas such as Meyerbeer's destined exclusively for the opera house, and which were being specially reserved for the brilliant future of the new building.
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