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Chunda Lal was talking to the man in charge; he had not yet left his seat. But the car was empty! At first I was stupid with astonishment. Par la barbe du prophete! I was astounded. Then I saw that I had really made a great discovery.
Also fro Jerusalem 2 myle, is the Mount Joye, a fulle fair place and a delicyous: and there lythe Samuel the prophete in a faire tombe: and men clepen it Mount Joye; for it zevethe joye to pilgrymes hertes, be cause that there men seen first Jerusalem.
But the Petit Prophete, which, notwithstanding all I could say, was for a long time attributed to me, was considered as a pleasantry, and did not produce the least inconvenience to the author: whereas the letter on music was taken seriously, and incensed against me the whole nation, which thought itself offended by this attack on its music.
Of Meyerbeer, Bayle thus wrote from Milan in 1820: "He is a man of some talent, but no genius; he lives solitary, working fifteen hours a day at music." Years passed, and Meyerbeer's hard work fully brought out his genius, as displayed in his 'Roberto, 'Huguenots, 'Prophete, and other works, confessedly amongst the greatest operas which have been produced in modern times.
The worthless overture of the 'Prophète, disfiguring this fine ensemble, had been hissed by some students of the Conservatoire, and, accustomed as I was to the blindness of the general public, knowing its implacable prejudices, I trembled for the fate of the magnificent septuor about to follow.
Rapid syllabication is also a characteristic of the song of the witches in the scene on the Brocken; but the witches sing in octaves and fifths except when they kneel to do homage to Mefistofele; then their chant sounds like the responses to John of Leyden's prayer by the mutinous soldiers brought to their knees in "Le Prophete."
They were objects of luxury, strangers of distinction which one saluted respectfully and which played no great part. Under Wagner's management they became a definite part of the household and, as we know, brought in a wealth of coloring. It is an open question whether it was Meyerbeer or Scribe who planned the amazing stage setting in the cathedral scene in Le Prophète.
In both the Prophete and Favorita the contralto plays the principal part, the soprano having a very subsidiary role. Meyerbeer wrote the part of the Prophet himself specially for Roger, the great tenor, and that of "Fides" for Mme. Viardot.
Of the numerous criticisms of well-known composers contained in this correspondence, a few more may be cited. They are mostly favorable in tone, but concerning the "Prophète" he writes: "The music appears to me very poor; I cannot find words to express my aversion to it." "Lortzing's operas meet with success to me almost incomprehensible." To Carl Reinecke he writes that he is "no friend of song-transcriptions (for piano), and of Liszt's some are a real abomination to me." He commends Reinecke's efforts in this direction because they are free from pepper and sauce
In July, 1855, she was at the Grand Opéra, in Paris, performing in "Le Prophète," etc., with Roger, having contracted an engagement for three years. In 1856 she was at Her Majesty's Theatre with Piccolomini, and made her first appearance in the character of Azucena in "Il Trovatore." Her performances were not confined to the opera-house; she sang at the Crystal Palace and in the Surrey Music Hall.
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