Meyerbeer


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Meyerbeer

Giacomo , real name Jakob Liebmann Beer. 1791--1864, German composer, esp of operas, such as Robert le diable (1831) and Les Huguenots (1836)
References in periodicals archive ?
Nella Filosofia della musica, l'autore cita alcuni autori e opere esemplari--Byron, Goethe, Schiller e, per la musica, Weber, Mozart (Don Giovanni), Meyerbeer (Robert le diable), Beethoven--ma e proprio su Meyerbeer che la sua riflessione ritornera negli anni londinesi e, a partire dagli anni 1860, in particolare su Les Huguenots (1836) che diverranno Yexemplum assoluto.
Meyerbeer did mote than receive a sterling Jewish and Enlightenment education; his family was one of the leading exemplars of both traditions in Prussia.
In the context of grand opera, it was Scribe more than any other who, with his sensitivity to the taste of the audience of the time and his ability to make the most of nineteenth-century innovation in theatrical technology, engineered the theatrical success of grand opera in Paris through his work as librettist with the composers Auber, Halevy and Meyerbeer himself.
They will be playing music spanning three centuries, including Johny Barry and Franz Waxman classics, Goff Richards' Hymns of Praise and the Gordon Langford arrangement of the Coronation March from the opera The Prophet by Meyerbeer.
Jews in Music" is directed in part at his former inspirations Felix Mendelssohn and Heinrich Heine, whom he mentions by name, as well as the unnamed onetime benefactor Giacomo Meyerbeer.
The third part, 'Grand Operas for Paris', has essays on a wide range of operas including those by Meyerbeer, Halevy, Rossini, Verdi and the range of operas at the Paris Opera in the second half of the nineteenth century.
Supposedly there's a Meyerbeer opera that has a castrato role in it.
Giacomo Meyerbeer and Jacques Offenbach were born in Germany but lived in France.
The score is eclectic, with hints across a spectrum of Western music: from the operettas of Lehar and Sigmund Romberg to the Weimar Republic works of Kurt Weill to quasi-operatic choruses that might have come from Meyerbeer.
Gerhard analyzes recurring stereotypes in eight grands operas by Rossini, Auber, Meyerbeer, Bertin, and Verdi, and spins his comments outward from composer and librettist to such topics as genesis, dramaturgy, musical analysis, orchestration, lighting, and reception.
In its latest excavation on March 11 at the Berlin State Opera, Robert triumphed musically, with Meyerbeer anticipating all those evocative sounds we know so well from ballets like Giselle, Le Bayadere, and Don Quixote (but dwarfing them all by his much more imaginative instrumentation).
Pedro Calderon de la Barca's 17th-century classic "life Is a Dream" would have been the perfect tapestry for a Verdi or Meyerbeer opera, and Jose Rivera's new adaptation of the play sings powerfully.