Jules Émile Frédéric Massenet

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Massenet, Jules Émile Frédéric


Born May 12, 1842, in Montaud, near the city of St. Etienne; died Aug. 13, 1912, in Paris. French composer. Member of the Academic des Beaux- Arts (1878).

In 1863, Massenet graduated from the Paris Conservatory, where he had studied composition under A. Thomas. In that same year he received the Prix de Rome for the cantata David Rizzio. In 1864 and 1865 he studied in Rome on a stipend. From 1878 to 1896, Massenet was a professor at the Paris Conservatory, where his pupils included A. Bruneau, P. Vidal, C. Koechlin, J. Tiersot, G. Charpentier, E. Chausson, and G. Enesco. In 1910 he was the president of the Academic des Beaux-Arts.

One of the most outstanding representatives of French lyrical operas and romances, Massenet wrote more than 30 operas, including La Grand’ Tante (1867), Don Cesar de Bazan (1872), Le Roi de Lahore (1877), Le Cid (1885), Thais (1894), Sapho (1897), and Don Quichotte (1910, Monte Carlo, with F. I. Chaliapin in the leading role). The composer’s masterpieces were Manon (1884) and Werther (1886), which have been firmly established in world opera repertoire. It is in these works that his lyrical gift is most completely revealed. Bright, heartfelt melodies play a major role in his music. Declamatory passages are marked by a certain melodiousness. Massenet also wrote three ballets, oratorios, symphonies, piano works, nearly 200 romances and songs, and other compositions.


Mes souvenirs (1848-1912). Paris [1912].


Kremlev, Iu. Zhiul’ Massne. Moscow, 1969.
Bruneau, A. Massenet. Paris, 1935.
Coquis, A. J. Massenet. [Paris, 1965.]
References in periodicals archive ?
Contains arias by Hector Berlioz, Georges Bizet, Emmanuel Chabrier, Gaetano Donizetti, Charles Gounod, Jules Massenet, Giacomo Meyerbeer, Camille Saint-Saens, Ambroise Thomas, and Giuseppe Verdi.
Contains arias by Daniel Auber, Hector Berlioz, Georges Bizet, Adrien Boieldieu, Leo Delibes, Gaetano Donizetti, Charles Gounod, Fromental Halevy, Edouard Lalo, Jules Massenet, Giacomo Meyerbeer, Ernest Reyer, Gioachino Rossini, Ambroise Thomas, and Giuseppe Verdi.
After a brief historical overview of the history, function, and development of the genre of the orchestral interlude in opera over the centuries, from its entr'acte origins to its organic place in the Wagnerian music dramas, Morris discusses readings of specific orchestral interludes written between 1850 and 1922 by Wagner, Frederick Delius, Jules Massenet, Richard Strauss, Claude Debussy, Hans Pfitzner, Alban Berg, and Franz Schreker.
Chapter 8, "Reaching out to Full Bloom" offers a survey of transitional figures in the history of romantic French song, including Victor Masse, Ernst Reyer, Edouard Lalo, Camille Saint-Saens, Georges Bizet, and Jules Massenet.
A self-confessed slave to French opera, particularly to the exotic and, at the time, largely forgotten music dramas of Jules Massenet, Hamilton unabashedly loaded his first seasons with works he was keen to see performed: Don Quichotte, La Navarraise, Thais, Griselidis, Cleopatre and Herodiade.
These documents range in significance from complete works by major composers including Berlioz, Frederic Chopin, Charles Gounod, Franz Liszt, Jules Massenet, Robert Schumann, Richard Strauss, and Henri Vieuxtemps to brief music quotations by lesser composers.
Lekeu is barely tolerant of Charles Gounod, contemptuous of Ambroise Thomas, and merciless with Jules Massenet.
Richard Farnes is the conductor in the latter which is of particular interest because it follows last season's production of Manon by the French composer Jules Massenet.
MEDITATION from 'THAIS'(1894) by Jules Massenet (1842-1912) A good example of how posterity sometimes cherry-picks the best bits from a composer's would-be major works, this sweet orchestral episode featuring solo violin is all that is heard nowadays from Massenet's tragic opera.
Their high point was 'Meditation', the orchestral interlude from Thais by Jules Massenet.
00th anniversary of the death of Jules Massenet, though one of the biggest names in French opera did not enjoy anything like the attention Britten has this year.
28-30), nicht unter diese Kategorie subsumieren, so dass Linke seine Untersuchungen aus guten Grunden mit Jules Massenets Poeme d'Avril (1866) beginnen kann.