(Dan-yel’ Fran-swa Es-pre’ O-bâr’) 1782–1871 French composer Auber is renowned for his operas and was the leading composer of opéras comiques in nineteenth-century France. He studied with Cherubini in Paris, writing concertos and vocal music before turning his attention to operas. His most important work is La muette de Portici (1828), one of many collaborations with the librettist Eugène Scribe ...
1782–1871, French The French composer Daniel Auber made a favourable impression on his teacher, Luigi Cherubini (1760–1842) with his first opera, L’erreur du moment (‘The Mistake of the Moment’, 1805). However, he had to wait 15 years for popular appreciation until he established himself with two works: La bergère châtelaine (‘The Lady Shepherdess’, 1820) and Emma (1821). ...
contrast, both in the slant of their libretti and in the emphasis of their musical responses. In fact, operatic interest in Prévost’s work had started far earlier. Daniel Auber had composed a Manon Lescaut in 1856 and the English composer Michael Balfe’s opera Maid of Artois (1836), written for Maria Malibran, was based on the same text. More ...
was firmly in the French musical tradition. Of these works, the most successful was La double échelle (‘The Double Ladder’, 1837). Thomas also wrote several opéras comiques, using Auber as his model, enlivening the genre and making it more Romantic. One opéra comique, Le songe d’une nuit d’ été (‘A Midsummer Night’s Dream’, 1850) had no connection ...
However, Scribe concentrated mainly on French grand opéra, with libretti that matched the genre’s visual and musical grandeur and the dramatic on-stage action. Scribe formed a partnership with Auber, who set no less than 38 of his libretti to music. The central figures of French grand opéra, such as Halévy and Meyerbeer also recognized in Scribe an ...
1801–63, French The French soprano Laure Cinti-Damoreau was only 15 when she made her debut at the Théâtre Italien in 1816 in Vicente Martín y Soler’s (1754–1806) 30-year-old opera Una cosa rara (‘A Rare Thing’, 1786). Ten years later, Cinti-Damoreau created several leading roles at the Paris Opéra, for example in Rossini’s La siège de Corinthe (‘The Siege ...
and Jommelli frequently worked as a team and between them created several dramatic French-style operas for the ducal court at Stuttgart. Introduction | Classical Era | Opera Personalities | Daniel-François-Esprit Auber | Early Romantic | Opera ...
was the leading English church composer of his time. Recommended Recording: Symphonies (Samuel Wesley), London Mozart Players (cond) Matthias Bamert (Chandos) Introduction | Classical Era | Classical Personalities | Daniel-François-Esprit Auber | Early Romantic | Classical ...
The first half of the nineteenth century was essentially a period of insurgence in Europe, from the French Revolution in 1789 to the series of uprisings that rocked the continent around 1848. Meanwhile, the Industrial Revolution was also underway, beginning in Britain, then spreading south through the rest of Europe. With these two strands of revolution came ...
The early nineteenth century was a period of insurgence in Europe, beginning with the French Revolution in 1789 to the uprisings in 1848. The Industrial Revolution, which began in Britain before spreading south to the rest of Europe, was also making its mark. These two strands of revolution caused transformations in society: growing awareness of national identity, ...
revue musicale, was founded, and the following year saw the premiere of the first grand opéra, La muette de Portici (‘The Mute Girl of Portici’) by Daniel-François-Esprit Auber (1782–1871), performances of Beethoven’s symphonies conducted by François-Antoine Habeneck (1781–1849) and the founding of the Société des Concerts du Conservatoire. In 1830, with the mood of the ‘bourgeois revolution’, ...
shared Rossini’s easy lyricism, wit and predilection for rhythmic repetitions, although he had a subtler use of instrumentation. The other major opéra comique composer of the period was Auber, whose Fra Diavolo (1830) exemplifies the charm, wit and melodic fluency that were so popular with audiences of the time. French Grand Opera In the 1830s and 1840s ...
The artistry, ingenuity and creativity of Pierre Cicéri (1782–1868), the greatest designer in early nineteenth-century France, made him an almost legendary figure in the world of Romantic opera. Originally, Cicéri trained as a singer, but turned to painting and became an assistant at the Paris Opéra in 1806. When he graduated to stage design, he made ...
was banned, the Opéra-Comique made itself a home for works that used this technique and included in its repertory operas by the ‘new wave’ of composers such as Daniel-François-Esprit Auber (1782–1871), Adolphe Adam (1803–56) and, much later, Jules Massenet (1842–1912). Introduction | Early Romantic | Opera Houses & Companies | French Versus Italian Opera | Early Romantic | ...
and comic opera, and brought the two genres closer together. During his lifetime he wrote librettos for almost every major European opera composer. His early opéra comique collaborations with Auber paved the way for La muette de Portici, a grand opera whose libretto included fishermen, peasants and aristocratic characters and incorporated popular verse forms as well as traditional ...
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