Giacomo Meyerbeer 187895 225538691 2008-07-14T05:38:24Z Rajah 107598 adding [[WP:PDATA|persondata]] using [[User talk:Dr pda/persondata.js|User:Dr pda/persondata.js]] [[Image:Giacomo_Meyerbeer_nuorempana.jpg|thumb|235px|right|Giacomo Meyerbeer.]] '''Giacomo Meyerbeer''' ([[September 5]], [[1791]] &ndash; [[May 2]], [[1864]]) was a noted [[Germany|German]]-born [[opera]] [[composer]], and the first great exponent of [[Grand Opera]]. ==Biography== Meyerbeer was born to a [[Jew]]ish family in Tasdorf, near [[Berlin]], [[Germany]] with the name '''Jacob Liebmann Beer'''. His father was the enormously wealthy financier Jacob Judah Herz Beer (1769-1825) and his much-beloved mother, Amalia Liebmann Meyer Wulff (1767-1854) also came from the wealthy elite. Their other children included the [[astronomer]] [[Wilhelm Beer]] and the poet [[Michael Beer]]. Meyerbeer made his debut as a nine-year old playing a Mozart concerto in Berlin. Throughout his youth, although he was determined to become a musician, he found it difficult to decide between playing and composition. Certainly other professionals in the decade 1810-1820, including [[Ignaz Moscheles|Moscheles]], considered him amongst the greatest virtuosi of his period. In his youth Beer studied with [[Antonio Salieri]] and the German master and friend of [[Goethe]], [[Carl Friedrich Zelter]]. Realizing, however, that a full understanding of [[Italian language|Italian]] opera was essential for his musical development, he went to study in [[Italy]] for some years, during which time he adopted the first name Giacomo. The 'Meyer' in his surname he adopted after the death of his great-grandfather. It was during this time that he became acquainted with, and impressed by, the works of his contemporary [[Gioacchino Rossini]]. Meyerbeer's name first became known internationally with his opera ''[[Il crociato in Egitto]]'' (premiered in [[Venice]] in 1824, and produced in [[London]] and [[Paris]] in 1825; incidentally the last opera ever to feature a [[castrato]]), but he became virtually a superstar with ''[[Robert le Diable (opera)|Robert le Diable]]'' (Robert the Devil, with libretto by [[Eugène Scribe]] and [[Casimir Delavigne]]), produced in Paris in 1831 and regarded by some as the first [[grand opera]], although this honor rightly belongs to Auber's ''[[La muette de Portici]]''. The fusion of dramatic music, melodramatic plot and sumptuous staging proved a sure-fire formula which Meyerbeer repeated in ''[[Les Huguenots]]'' (1836), ''[[Le prophète]]'' (1849), and ''[[L'Africaine]]'', (produced posthumously, 1865). All of these operas held the international stage throughout the 19th century, as did the more pastoral ''[[Le pardon de Ploërmel|Dinorah]]'' (1859). However, because they were expensive to stage, requiring large casts of leading singers, and subject to consistent attack from the prevalent [[Richard Wagner|Wagner]]ian schools, they gradually fell into desuetude. Meyerbeer left Paris for [[Berlin]] in 1842 to take the post of Court musical director, but returned to Paris in 1849. [[Image:Meyerbeergrave.jpg|thumb|left|Meyerbeer's grave in Berlin]] Meyerbeer's immense wealth (increased by the success of his operas) and his continuing adherence to his [[Judaism|Jewish religion]] set him apart somewhat from many of his musical contemporaries. They also gave rise to malicious rumours that his success was due to his bribing musical critics. [[Richard Wagner]] (see below) accused him of being only interested in money, not music. Meyerbeer was, however, a deeply serious musician and a sensitive personality. He philosophically resigned himself to being a victim of his own success. Meyerbeer was interred in the Berlin Jewish cemetery in Schönhauser Allee, amongst other members of the Beer family. Meyerbeer's extensive diaries and correspondence miraculously survived the turmoil of 20th century Europe and are now being published (6 volumes so far out of 7 - the diaries alone have been published in an English translation in 4 volumes). They are an invaluable source for the history of music and the theatre in the composer's time. == Meyerbeer and Richard Wagner == The vitriolic campaign of [[Richard Wagner]] against Meyerbeer was to a great extent responsible for the decline of Meyerbeer's popularity after his death in 1864. This campaign was as much a matter of personal spite as of [[racism]] - Wagner had learnt a great deal from Meyerbeer and indeed Wagner's early opera [[Rienzi]] (1842) has, facetiously, been called 'Meyerbeer's most successful work'. Meyerbeer supported the young Wagner, both financially and in obtaining a production of Rienzi at [[Dresden]]. However, Wagner resented Meyerbeer's continuing success at a time when his own vision of German opera had little chance of prospering. After the [[May Uprising in Dresden]] of 1849, Wagner was for some years a political refugee facing a prison sentence or worse in [[Saxony]]. During this period when he was gestating his [[Ring cycle]] he had few sources of income apart from journalism and benefactors, and little opportunity of getting his own works performed. The success of ''Le Prophète'' sent Wagner over the edge, and he was also deeply envious of Meyerbeer's wealth. After Meyerbeer's death Wagner reissued his 1850 essay ''[[Das Judenthum in der Musik]] (Jewry in Music)'', in 1868, in an extended form, with a far more explicit attack on Meyerbeer. This version was under Wagner's own name - for the first version he had sheltered behind a pseudonym - and as Wagner had by now a far greater reputation, his views obtained far wider publicity. These attacks on Meyerbeer (which also included a swipe at [[Felix Mendelssohn]]) are regarded by [[Paul Lawrence Rose]] as a significant milestone in the growth of German [[anti-Semitism]].<ref>See e.g. Paul Lawrence Rose, ''Wagner, Race and Revolution'', London, 1996 ISBN 057117888x </ref> ==Modern productions of Meyerbeer== Meyerbeer's compositions were banned by the [[Nazism|Nazi]] regime because the composer was Jewish, and this was a major factor in their disappearance from the repertory. However, the operas are now beginning to be regularly revived and recorded, although (despite the efforts of such champions as Dame [[Joan Sutherland]], who took part in performances of, and recorded, ''Les Huguenots'') they have yet to achieve anything like the huge popular following they attracted during their creator's lifetime. Amongst reasons often adduced for the dearth of modern productions are the scale of Meyerbeer's more ambitious works and the cost of mounting them, as well as the alleged lack of virtuoso singers capable of doing justice to Meyerbeer's demanding music. However, recent successful productions of some of the major operas at relatively small centres such as [[Strasbourg]] (''L'Africaine'', 2004) and [[Metz]] (''Les Huguenots'', 2004) show that this [[conventional wisdom]] is not unchallengeable. ==List of operas== {|class="wikitable" ! Title||First performance||Location||Notes |- |''Jephtas Gelübte'' ||[[1812-12-23]] || [[Munich]] || |- |''Wirt und Gast''|| 6 January 1813 ||[[Stuttgart]] || |- |''Das Brandenburger Tor'' ||1814 || Berlin || |- |''Romilda e Costanza'' ||19 July 1817 || [[Padua]] || |- |''[[Semiramide riconosciuta]]''||March 1819 ||[[Teatro Regio]], [[Turin]] || |- |''Emma di Resburgo'' ||26 June 1819|| [[Venice]], San Benedetto || |- |''[[Margherita d’Anjou]]'' || 14 November 1820 ||[[Milan]] || |- |''L'Almanzore'' || || || Probably composed 1820-21 intended for [[Rome]] but unperformed there. While it is believed to have been unfinished it is also possible that it is an earlier version of ''L'esule di Granata'' |- |''[[L'esule di Granata]]''||12 March 1821||Milan|| |- |''[[Il crociato in Egitto]]'' ||7 March 1824 || [[La Fenice]], Venice ||Frequently revised by Meyerbeer |- |''[[Robert le diable (opera)|Robert le diable]]'' ||21 November 1831 || [[Académie Royale de Musique|Opéra, Paris]] || |- |''[[Les Huguenots]]'' ||29 February 1836 || Opéra, Paris||Sometimes staged during the 19th century under other titles e.g. "The Guelfs and the Ghibellines" or "The Anglicans and the Puritans" (see WP article on the opera) |- |''[[Ein Feldlager in Schlesien]]''||7 December 1844 ||Hofoper, Berlin ||Revised as ''Vielka'', Vienna, [[1847-02-18]] |- |''[[Le prophète]]''|| 16 April 1849 ||Opéra, Paris|| |- |''[[L'étoile du nord]]'' ||16 February 1854 ||[[Opéra-Comique]], Paris||Partly based on the earlier ''Feldlager in Schlesien'', revised in Italian, London, Covent Garden, [[19 July]] [[1855]] |- |''[[Le pardon de Ploërmel|Dinorah ou Le pardon de Ploërmel]]''||4 April 1859 ||Opéra-Comique, Paris||Revised in Italian as ''Dinorah'', Covent Garden, [[London]], [[26 July]], [[1859]] |- ||''[[L'Africaine]]''||28 April 1865 ||Opéra, Paris||Posthumous |} ==Media== {{multi-listen start}} {{multi-listen item|filename=Giacomo Meyerbeer - Hirtenlied.ogg|title=Hirtenlied|description=|format=[[Ogg]]}} {{multi-listen end}} ==Notes== <references/> == External links == * [http://www.meyerbeer.com/ Meyerbeer Fan Club site at meyerbeer.com] *[http://www.smerus.pwp.blueyonder.co.uk/meyerbeer_.htm Article by David Conway on 'Meyerbeer the Jew' on his site dedicated to Jewish musicians] * [http://stage.vitaminic.co.uk/john_kersey Free Mp3 file of Wilhelm Kuhe's piano "Fantaisie on Meyerbeer's "Dinorah" played by John Kersey] * [http://music.download.com/johnkersey/3600-8277-100613536.html?tag=quickurl Free Mp3 file of Eugene Ketterer's piano "Fantaisie on Meyerbeer's "L'Africaine" played by John Kersey] *[http://cylinders.library.ucsb.edu/search.php?query=meyerbeer&queryType=%40attr+1%3D1 Meyerbeer cylinder recordings], from the [[Cylinder Preservation and Digitization Project]] at the [[University of California, Santa Barbara]] Library * {{IMSLP|id=Meyerbeer, Giacomo}} ==Bibliography== {{wikisourcepar|University_Musical_Encyclopedia/Great_Composers:_A_Series_of_Biographical_Studies/Giacomo Meyerbeer|Giacomo Meyerbeer}} {{Commons|Category:Giacomo Meyerbeer}} *{{cite book|first=Heinz and Gudrun|last=Becker|title=Giacomo Meyerbeer, a Life in Letters|location=London|year=1989}} *{{cite book|first=Reiner |last=Zimmermann|title=Giacomo Meyerbeer, eine Biographie nach Dokumenten|location=Berlin|year=1998}} *{{cite book|first=Giacomo|last=Meyerbeer|title=The Diaries of Giacomo Meyerbeer|location=Madison and London|year=1999-2004}} *{{cite book|first=Giacomo |last=Meyerbeer|title=Briefwechsel und Tagebücher|location=Berlin and New York|year=1960 -}} *{{cite journal|first=Tom |last=Kaufman|title=Wagner vs. Meyerbeer|journal=Opera Quarterly|volume=19|number=No. 4|date= Autumn 2003}} ==Discography== *[http://www.geocities.com/Vienna/8917/Meyerdisc.html] A Meyerbeer discography (updated whenever an additional opera by Meyerbeer is issued on CD) <!-- Metadata: see [[Wikipedia:Persondata]] --> {{Persondata |NAME= Meyerbeer, Giacomo |ALTERNATIVE NAMES=Beer, Jacob Liebmann |SHORT DESCRIPTION=[[Germany|German]]-born [[opera]] [[composer]] |DATE OF BIRTH=[[September 5]], [[1791]] |PLACE OF BIRTH=Tasdorf, near [[Berlin]], [[Germany]] |DATE OF DEATH=[[May 2]], [[1864]] |PLACE OF DEATH= }} {{DEFAULTSORT:Meyerbeer, Giacomo}} [[Category:German Jews]] [[Category:Opera composers]] [[Category:Romantic composers]] [[Category:German composers]] [[Category:Music in Berlin]] [[Category:Jewish classical musicians]] [[Category:Jewish composers and songwriters]] [[Category:Jewish German history]] [[Category:People from the Margraviate of Brandenburg]] [[Category:1791 births]] [[Category:1864 deaths]] [[bg:Джакомо Мейербер]] [[bs:Giacomo Meyerbeer]] [[ca:Giacomo Meyerbeer]] [[cs:Giacomo Meyerbeer]] [[da:Giacomo Meyerbeer]] [[de:Giacomo Meyerbeer]] [[es:Giacomo Meyerbeer]] [[fr:Giacomo Meyerbeer]] [[hr:Giacomo Meyerbeer]] [[id:Giacomo Meyerbeer]] [[it:Giacomo Meyerbeer]] [[he:ג'אקומו מאיירבר]] [[nl:Giacomo Meyerbeer]] [[ja:ジャーコモ・マイアーベーア]] [[ms:Giacomo Meyerbeer]] [[no:Giacomo Meyerbeer]] [[pl:Giacomo Meyerbeer]] [[pt:Giacomo Meyerbeer]] [[ro:Giacomo Meyerbeer]] [[ru:Мейербер, Джакомо]] [[sk:Giacomo Meyerbeer]] [[sl:Giacomo Meyerbeer]] [[fi:Giacomo Meyerbeer]] [[sv:Giacomo Meyerbeer]] [[tr:Giacomo Meyerbeer]]