51:
459:
1135:
1149:
906:
1121:
1163:
1064:
987:
1177:
974:. Robert is preparing for the tournament when Bertram suddenly appears and persuades Robert to go to a nearby forest, claiming that the Prince of Granada, his rival for Isabelle's love, wants to fight with him. When Robert has left, the court gathers to celebrate the marriage of six couples with dancing. The Prince of Granada enters and asks Isabelle to present him with arms for the tournament. Isabelle expresses her sorrow at Robert's disappearance but prepares to open the tournament, singing in praise of chivalry (
360:
290:
reducing the essentially comic role of
Raimbaut (who vanishes after Act 3 in the final version, but whose antics – including the spending of Bertram's money – continued throughout in the earlier libretto). It also meant that the traditional 'pairing' of lovers in opéra comique (Robert/Isabelle paralleled throughout by the 'lower-class' Raimbaut/Alice) was swept aside in favour of concentration on the more sensational story-line of Robert's diabolic ancestry.
1304:
3521:
415:. Duponchel had also introduced technical innovations for the staging, including 'English traps' for the sudden appearance and disappearance of the ghosts. (Meyerbeer was led to complain that the spectacle was too much and was pushing his music into the background). Taglioni danced the Abbess only six times in Paris; she was replaced by Louise Fitzjames, (who danced the role 232 times).
1004:
953:). She offers Robert his mother's will. Robert is too overcome to read it and asks Alice to keep it for the present. Robert expresses his longing for his beloved Isabelle and Alice offers to take a letter to her. Alice warns Robert to beware of Bertram but he ignores her. With Bertram's encouragement, Robert gambles with the knights and loses all of his money, as well as his armour.
208:
943:). Robert's attendant Raimbaut sings a ballad about a beautiful princess from Normandy who married a devil; the princess had a son, Robert, known as 'le diable'. Robert indignantly reveals that he is the son in question and condemns Raimbaut to death. Raimbaut begs for pardon and tells Robert that he is engaged to marry. Robert relents and relishes the thought of the
3296:
1102:) and hands Robert his mother's will. Robert reads his mother's message, in which she warns him to beware the man who seduced and ruined her. Robert is wracked by indecision. Midnight strikes and the time for Bertram's coup is past. He is drawn down to hell. Robert is reunited with Isabelle in the cathedral, to great rejoicing.
1464:
was so popular that it became his calling card: on more than one occasion he was forced to interrupt his programmed concerts to play it because of the demands of the audience. On the day of its publication by
Maurice Schlesinger, the edition of 500 was completely sold out and it had to be immediately
1097:
A group of monks extol the power of the Church. Bertram has freed Robert from the guards and the two arrive to prevent the marriage of
Isabelle to the Prince of Granada. Bertram attempts to get Robert to sign a document in which he promises to serve Bertram for all eternity. He reveals to Robert that
518:
on 11 June of that year. Lacy's version was given in New York on 7 April 1834. In 1832 the opera reached Berlin, Strasbourg, Dublin and Liège; in 1833 Brussels, Copenhagen, Vienna and
Marseilles; in 1834 Lyon, Budapest, The Hague, Amsterdam and Saint Petersburg; in 1835 (12 May) it obtained its first
1244:
provides the most astonishing example of the power of instrumentation when applied to dramatic music; ... a power of recent introduction which has achieved its fullest development in the hands of M. Meyerbeer; a conquest of modern art which even the
Italians will have to acknowledge in order to prop
289:
theatre. Meyerbeer stopped work on the opera in 1827 when the theatre underwent financial difficulties. In August 1829, the composer and librettists agreed to refashion the work in a five-act form to meet the requirements of the Paris Opéra. This entailed some significant rewriting of the storyline,
1194:
A number of factors influenced the opera's very favourable reception. The initial cast contained leading singers of the period and, as it changed, equally brilliant stars (e.g. Falcon) were introduced as replacements. The sensational plot and the notoriety of the Nuns' ballet ensured that the opera
422:
made her debut at the age of 18 at the Opéra in the role of Alice on 20 July 1832. The cast included
Nourrit. Although suffering from stage fright, Falcon managed to sing her first aria without error, and finished her role with "ease and competence." Her tragic demeanor and dark looks were highly
242:
announced on 19 April 1827 that the libretto of Scribe and
Delavigne had been passed by the censor and that 'the music is to be entrusted to a composer, M. Meyer-Beer, who, having acquired a brilliant reputation in Germany and Italy, is extending it to our country, where several of his works have
1214:
But undoubtedly the novelty and colour of the music of
Meyerbeer deserves major credit. The alliance of his German musical training, along with his study of opera for many years in Italy, was highly attractive to a Parisian audience which 'asked only to be astonished and surprised.' The critic
1052:
Isabelle is preparing for her marriage with the Prince of
Granada. Alice rushes in to inform her of what she has learnt about Robert, but she is interrupted by envoys of the Prince who enter bearing gifts. Robert arrives and, using the power of the branch, freezes everyone except himself and
50:
1034:
in a nearby deserted cloister. Although to take it is sacrilege, the branch will give Robert magical powers. Robert declares that he will be bold and do as
Bertram instructs. Bertram leads Robert to the cloister. The ghosts of nuns rise from their tombs, beckoned by Bertram, and
1026:). She overhears strange chanting coming from the cave and decides to listen; she learns that Bertram will lose Robert forever if he cannot persuade him to sign away his soul to the Devil by midnight. On emerging from the cave, Bertram realizes that Alice has heard everything (
482:(Cavaliere Giovanni Matteo di Candia), and wrote for him a new aria for Robert which was performed at his debut in the revival of the opera on 30 November 1838. Mario's debut was the launch of his very successful career. Others singing in the 1838 revival included
542:
saw Fitzjames's performance as the Abbess in Paris in 1841, and based his own choreography, which was used in Copenhagen between 1833 and 1863, on this. This choreography, which has been fully preserved, represents the only record of Filippo Taglioni's original.
1022:). Raimbaut leaves and Bertram gloats at having corrupted him. Bertram reveals that Robert, to whom he is truly devoted, is his son; he then enters an adjoining cave to commune with the spirits of hell. Alice enters and expresses her love for Raimbaut (
1148:
526:
Meyerbeer took particular care over the first London and Berlin productions. He travelled to London to check the singers and production for the original version, and requested that the German translation for Berlin be undertaken by the poet
262:. The librettists padded out this outline with a variety of melodramatic incidents. The plot reflected 'the fantastic legendary elements which fascinated the opera public of 1830', a taste which had evolved from the 1824 Paris production of
531:, strongly recommending that Taglioni and her father Fillipo be re-engaged, and that Ciceri's sets should be reproduced. Although Taglioni danced and the sets were retained, the translation was eventually carried out by Meyerbeer's friend
229:(1824) throughout Europe, including at Paris in 1825, persuaded Meyerbeer, who was already thirty-three years old, to fulfil at last his ambition to base himself in Paris and to seek a suitable libretto for an opera to be launched there.
1134:
458:
394:
A crowd of mute shades glides through the arches. All these women cast off their nuns' costume, they shake off the cold powder of the grave; suddenly they throw themselves into the delights of their past life; they dance like
293:
The contract for the opera, specifying it as a "grand opera in five acts and seven scenes", was signed by the then director of the Opéra, Émile Lubbert, on 29 December 1829. Meyerbeer completed the composition of the work in
172:
The opera was immediately successful from its first night on 21 November 1831 at the Opéra; the dramatic music, harmony and orchestration, its melodramatic plot, its star singers and its sensational stage effects compelled
1162:
1120:
562:, who was with him, wrote "I see as I write the smile with which Mendelssohn, whose enjoyment of Mdlle. Lind's talent was unlimited, turned round and looked at me, as if a load of anxiety had been taken off his mind."
1098:
he is his true father and Robert decides to sign the oath from filial devotion. Before he can do so, Alice appears with the news that the Prince has been prevented from marrying Isabelle. Alice prays for divine help (
1378:' in selling the management to Véron, and this was a landmark in the dilution of state control and patronage in the fine arts. Although Véron had not commissioned it (having taken control only after the Revolution),
949:. Raimbaut's fiancée arrives; Robert recognizes her as his foster-sister Alice and pardons Raimbaut. Alice tells Robert that his mother has died and that her last words were a warning about a threatening dark force (
905:
1374:
doubtless played a part in attracting the bourgeoisie to the opera, until then regarded as primarily an aristocratic entertainment. The success of the opera also justified the government's policy of '
1280:. This success – coupled with Meyerbeer's known family wealth – inevitably also precipitated envy amongst his peers. Berlioz wrote "I can't forget that Meyerbeer was only able to persuade to put on
2625:
cited in Crosten (1948), p. 99. Crosten comments: "In fact, is so fundamentally characterless that it is a matter of wonder why either Heaven or Hell should be inclined to worry over his destiny."
2828:
939:
Robert and his mysterious friend Bertram are among a group of knights who are preparing to compete in a tournament for the hand of Princess Isabelle. They all praise wine, women and gambling (
570:
During the early twentieth century, Meyerbeer's operas gradually disappeared from the stage, partly due to their length and expense to mount, partly due to their denigration by supporters of
1613:
1284:... by paying the administration sixty thousand francs of his own money"; and Chopin lamented "Meyerbeer had to work for three years and pay his own expenses for his stay in Paris before
199:
continued as a favourite in opera houses all over the world throughout the nineteenth century. After a period of neglect, it began to be revived towards the end of the twentieth century.
1063:
1030:). He threatens her and she promises to keep silent. Robert arrives, mourning the loss of Isabelle, and Bertram tells him that to win her he should seize a magic branch from the tomb of
1261:
is not only a masterpiece; it is also a remarkable work within the history of music ... seems to me to unite all the qualities needed to establish a composer's reputation unshakeably."
1056:
Unsettled by the power he's wielding, he confesses to Isabelle that he is using witchcraft, but begs her not to reject him. She expresses her love for him and implores him to repent (
2652:
Both cited in Conway (2012), pp. 252–3. Both Veron and Meyerbeer however were later to deny the rumours that the composer had subsidized the production. See Becker (1989), pp. 147–8
1018:
Bertram meets Raimbaut, who has arrived for an assignation with Alice. He gives him a bag of gold and advises him not to marry Alice as his new wealth will attract plenty of women (
1412:, they led to 'uniformly horrific dénouements' with 'gripping moral urgency', their more sophisticated plot-lines reflecting the changes in taste of the new opera clientele. They
970:). She is delighted when she receives Robert's letter. Robert arrives and the pair express their pleasure at being together again. Isabelle provides him with new armour for the
2308:
1176:
3574:
1300:
had profound consequences, for the institution of the Paris Opéra itself, for the music, staging and popularity of nineteenth century opera as a whole, and for ballet.
1219:
have to meet.' Meyerbeer paid close attention to unusual combinations and textures and original orchestration, examples being the use of low brass and woodwind playing
986:
474:
By April 1834 the opera had received over 100 performances in Paris. Nourrit sang the role of Robert until 1837, when he was replaced as premier tenor at the Opéra by
2808:
1249:
The opera was perceived to have weaknesses of characterization. For example, Robert's dithering behaviour led to one comment that "what is least diabolical in
1382:
was his first new production as manager of the Opéra, and its success underwrote his policy of commissioning similar works. These were to include Meyerbeer's
1475:
185:
initiated the European fame of its composer, consolidated the fame of its librettist, Scribe, and launched the reputation of the new director of the Opéra,
3363:
502:
A succession of representations throughout Europe and in the Americas launched Meyerbeer's international fame. A version of the opera – under the title of
2701:
594:
3315:
2788:
1534:
2448:
601:
in 1921 and Bordeaux in 1928. The first production after the Second World War was in Florence in 1968, a shortened version with a cast including
3151:, translated and edited by Robert Ignatius Letellier. Madison, NJ: Fairleigh Dickinson University Press; London: Associated University Presses.
223:, and wrote his own Italian operas, which were moderately successful and also had some performances in other European countries. The success of
3584:
3549:
3228:
3210:
3082:
3001:
2969:
2165:
2025:
1203:
was Cicéri, the designer." Meyerbeer was keen to keep influential persons on his side. For example, he sent free tickets for 'a good box' to
478:, whom, however, Meyerbeer did not like in the role; nor did he approve of an alternative, Lafont. However, he was impressed by the newcomer
3544:
219:
Giacomo Meyerbeer's early studies had been in Germany, but from 1816 to 1825 he worked in Italy. There he studied opera, then dominated by
1538:, where one of the items being auctioned off is described as "Lot 664: a wooden pistol and three human skulls from the 1831 production of
177:, who was in the audience, to say, "If ever magnificence was seen in the theatre, I doubt that it reached the level of splendour shown in
1199:. The scenery was of exceptional quality: "This was as much an opera to see as to hear, and it has been argued that the real hero behind
3524:
3411:
920:
The plot of the opera has been often cut or rearranged in various productions. The outline given below follows the description given in
3300:
3186:
3171:
3156:
3127:
3108:
3035:
3009:
2984:
2943:
2917:
922:
2287:
1265:
3309:
3554:
3356:
2502:
2404:
1111:
1080:
3142:
1039:, praising the pleasures of drinking, gambling and lust. Robert seizes the branch and fends off the demons who surround him.
3245:
843:
1456:
Music from the opera became the subject of numerous virtuoso works of the time. The brilliant transcription of its themes (
1195:
was a hot topic in journals and reviews. This was assisted by the marketing skills of the director Véron and the publisher
3579:
2992:
2021:
586:
and commented that "Nowadays young people cannot understand how anyone could have taken Meyerbeer's influence seriously."
1223:
passages associated with Bertram; the use of a brass band and male choir to characterise the demons in Act 3; and so on.
520:
371:. The success owed much to the opera's star singers – Levasseur as Bertram, Nourrit as Robert — and to the provocative "
318:(1829) in this new genre. The composer undertook further work on the opera in early 1831, converting spoken passages to
3589:
2905:
1782:
3055:
1254:
186:
3473:
3349:
3216:
1649:
1604:
1521:
1509:
1501:
730:
3260:
1469:, whose score was also published by Schlesinger, was said to have saved him from bankruptcy. Frédéric Chopin and
1347:
1323:, and its sensational and novel effects, meant that it was widely identified with the new, liberal, ideas of the
1229:
991:
511:
412:
3278:
2745:
1429:
are all clothed in white) which became a favourite of the nineteenth-century repertoire. Later examples include
3324:
2698:
3164:
The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. Growth and Grandeur, 1815–1914
1060:). Robert breaks the branch and the spell it has created, and is taken into custody by Isabelle's attendants.
3195:(2003). "Roles, reputations, shadows: singers at the Opéra, 1828–1849", in Charlton (2003), pp. 108–128.
1491:
2935:
1526:
1215:
Ortigue wrote that Meyerbeer 'straight away his position at the crossroads where Italian song and German
368:
247:
3489:
2330:
Letter of 4 February 1832 to the Berlin theatre director, Count von Redern; see Becker (1989), pp. 48–49.
3559:
3443:
2422:
1333:
971:
966:
Isabelle is sad at Robert's absence and expresses her unease that their marriage will never take place (
255:
225:
3435:
3427:
174:
3234:
Williams, Simon (2003). 'The Spectacle of the Past in Grand Opera' in Charlton (2003), pp. 58–75.
2456:
1327:. As Berlioz commented, Meyerbeer had "not only the luck to be talented, but the talent to be lucky."
359:
3569:
2588:
762:
722:
494:(Raimbaut). By Meyerbeer's death in 1864 the opera had been performed over 470 times in Paris alone.
423:
appropriate to the part, and she made a vivid impression on the public, which included on that night
304:
263:
386:. The audience's prurient delight in this scandalous scene is well conveyed by the reviewer for the
2011:
1864:
1530:
1505:
1404:
1389:
1328:
1196:
625:(Isabelle) was the first performance there since 1893. In 1999 a new production was mounted at the
618:
575:
539:
432:
3457:
3395:
1906:
1470:
1036:
637:
626:
372:
327:
298:
in June and July 1830. Its characterisation as a "French grand opera" placed it in succession to
3387:
2479:
1076:
491:
487:
419:
2384:
3372:
3224:
3206:
3182:
3167:
3152:
3138:
3123:
3104:
3078:
3048:
Everist, Mark (1994). 'The Name of the Rose: Meyerbeer's opéra comique, Robert le Diable', in
3031:
3005:
2997:
2980:
2965:
2939:
2913:
2887:
2859:
2302:
2161:
2155:
1925:
1697:
1658:
1487:
1068:
945:
909:
780:
669:
547:
515:
467:
444:
339:
309:
268:
220:
148:
136:
80:
42:
1479:
on themes from the opera, for cello and piano, in 1832, and the Italian pianist and composer
3419:
3330:
3198:
3063:
2875:
1480:
1277:
799:
598:
483:
383:
286:
281:
238:
165:
144:
75:
2528:
3564:
3282:
3192:
2705:
2408:
1972:
1960:
1759:
1719:
1593:
1426:
1342:
1320:
1072:
913:
744:
688:
684:
649:
606:
528:
448:
408:
343:
331:
1977:
692:
338:. He also rewrote the two major male roles of Bertrand and Robert to suit the talents of
2843:
1341:) are just two of the contemporary writers to express their fascination with the opera.
523:
in New Orleans. Italian versions were given in Lisbon in 1838, and in Florence in 1840.
3505:
3481:
3320:
1881:
1869:
1801:
1776:
1771:
1680:
1224:
1204:
892:
653:
645:
610:
571:
475:
455:. On hearing her in the role, Meyerbeer himself declared his opera at last 'complete'.
436:
428:
376:
160:
112:
3538:
3465:
3020:
2613:
1724:
1644:
1627:
1598:
1584:
1516:
1449:
1443:
1384:
1375:
1324:
1216:
1031:
775:
665:
622:
602:
559:
479:
335:
189:, as a purveyor of a new genre of opera. It also had influence on development of the
2506:
2397:
1272:, swiftly invited him to compose a German opera, and Meyerbeer was invited to stage
276:), which also features a doubtful hero befriended by a demon promising him success.
3334:
3067:
2426:
1766:
1639:
1421:
1399:
1303:
641:
614:
532:
507:
440:
424:
314:
299:
295:
1500:
painted the scene of the Nuns' ballet twice. The earlier version (1871) is in the
672:
London on 6 December 2012, the first time it had been performed there since 1890.
535:. Meyerbeer wrote additional ballet music for Taglioni for the Berlin production.
17:
3103:
edited by S. Döhring and A. Jacobshagen, pp. 73–86. Laaber: Laaber-Verlag.
3028:
Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner
2004:
1999:
1917:
1886:
1876:
1634:
1497:
1461:
1431:
1413:
1356:
1007:
452:
193:, and was frequently mentioned and discussed in contemporary French literature.
156:
38:
2570:(Letter from Meyerbeer to Heine of December 1831, cited in Becker (1989), p. 46
1483:
composed an elaborate fantasy on the opera for left hand alone as his Op. 106.
1003:
2135:
Heuber (1992), p. 1357. For details of the earlier version see Everist (1994).
1808:
1732:
790:
714:
676:
555:
319:
3092:
edited by Stanley Sadie, London: Macmillan Press, vol. 3, pp. 1357–1359.
1264:
The success of the opera led to Meyerbeer himself becoming a celebrity. King
1435:(1832) (also choreographed by Filippo Taglioni and danced by his daughter),
1220:
887:
396:
207:
1515:
The work's popularity spawned many parodies and pastiches including one by
3295:
2891:
2823:
Variations de Concert on ‘Quand Je Quittai La Normandie’ from Meyerbeer's
1891:
Coro del Teatro dell' Opera di Salerno, Orchestra Filarmonica Salernitana
382:
The choreography for the ballet was elaborated by the ballerina's father,
2032:
1701:
1662:
1394:
809:
251:
140:
1245:
up as best they can their miserable system which is collapsing in ruins.
3497:
1934:
1437:
757:
3122:
Opéra Romantique. Newcastle upon Tyne: Cambridge Scholars Publishing.
1416:, with the Opéra itself as its centre, in the period 1830 until 1850.
1408:. However, while they used 'the same dazzling theatrical rhetoric' as
3271:
1208:
400:
330:", which was to prove one of the opera's great sensations, and which
323:
190:
3341:
3203:
Music in the Nineteenth Century: The Oxford History of Western Music
1207:. And of course the businessman Véron knew how to use (and pay) the
246:
The libretto was fabricated on the basis of old legends about Duke
2832:
2812:
2792:
2749:
1504:, New York. In 1876 Degas painted a larger version for the singer
1319:
The fortuitous timing of the opera's premiere, not long after the
1302:
985:
904:
739:
457:
358:
259:
206:
163:. It has only a superficial connection to the medieval legend of
132:
2599:
2597:
1939:
1364:
1288:
could be staged ... Three years, that's a lot – it's too much."
407:
The set for the ballet was an innovative and striking design by
3345:
2930:
Brown, Clive (2001). "Giacomo Meyerbeer", pp. 570–577, in
181:...It is a masterpiece...Meyerbeer has made himself immortal".
3267:
on the "Meyerbeer Fan Club" website, retrieved 10 January 2011
3181:, edited by Dan H. Laurence. 3 vols. London: The Bodley Head.
3137:, ed. Stanley Sadie. Vol. 12, pp. 246–256. London: Macmillan.
1943:
1227:
was particularly impressed; he wrote an entire article in the
593:
included those in New Orleans and Nice in 1901, Paris (at the
334:
had suggested to replace the original humdrum scenario set in
3075:
After the Golden Age: Romantic Pianism and Modern Performance
3095:
Jürgenson, Knud Arne (1998). 'The "Ballet of the Nuns" from
1818:
Bratislava Chamber Choir, Orchestra Internazionale d'Italia
1276:
in Berlin. In January 1832 he was awarded membership of the
3285:
on the "Meyerbeer Fan Club" website, retrieved 4 April 2012
1967:
1508:(who had sung the part of Bertram); this version is in the
211:
Meyerbeer, c. 1825, shortly before he commenced working on
554:– an opera which musically he despised – in order to hear
514:
on 20 February 1832; the original version appeared at the
2912:, translated by Mark Violette. London: Christopher Helm.
1419:
The Act 3 ballet is regarded by some as the first of the
558:'s British debut, in the role of Alice. The music critic
2220:
2218:
2216:
2179:
2177:
2411:, Meyerbeer Fan Club website. Retrieved 10 January 2010
2110:
2108:
258:, alleged in some versions to have been the son of the
2122:
2120:
3149:
The Diaries of Giacomo Meyerbeer. Volume 1: 1791–1839
3062:(in French), second edition, volume 3. Paris: Didot.
2803:"Grande Fantaisie pour Piano pour la main gauche sur
2616:
in The Hector Berlioz website, retrieved 7 April 2012
3133:
Levarie, Siegmund (1995), "Meyerbeer , Giacomo " in
1849:
Chorus and Orchestra of Staatsoper Unter den Linden
1363:. It is the only nineteenth-century opera to have a
3379:
1529:in 1868. It is referenced in the opening scene of
1370:Also, the absence of starchy historical content in
519:American performance in the original French at the
375:" in the third act, featuring the great ballerina,
279:The libretto was originally planned as a three-act
97:
89:
68:
60:
32:
2449:"Royal Opera House website 2012/13 season page on
1690:Choeurs et Orchestre de l'Opéra National de Paris
1486:Other pieces based on the opera included works by
2398:"An account of two extraordinary performances of
1650:Choeurs et Orchestre de l'Opéra National de Paris
2307:: CS1 maint: bot: original URL status unknown (
3135:The New Grove Dictionary of Music and Musicians
2480:"Meyerbeer Robert le Diable, Royal Opera House"
2157:Berlioz on Music: Selected Criticism, 1824-1837
990:Sketch of an unused design for Act 3, scene 2 (
679:, Brussels, there were concert performances of
367:The opera premiered on 21 November 1831 at the
3088:Heubner Steven (1992). 'Robert le Diable', in
2927:, translated by David Cairns. London: Panther.
683:in April 2019, with Dmitry Korchak as Robert,
609:. In 1984 the revival at the Paris Opéra with
403:. What a pleasure to see these light women...
3357:
2996:. Cambridge, UK: Cambridge University Press.
2503:"Robert le Diable – Opera Reviews – MusicOMH"
648:(Bertram), Marina Mescheriakova (Alice), and
8:
3179:Shaw's Music: The Complete Musical Criticism
2290:. Archived from the original on May 31, 2008
3321:Robert le Diable : opéra en cinq actes
2964:Metuchen, New Jersey: The Scarecrow Press.
2962:The French Stage in the Nineteenth Century.
1414:established Paris as Europe's opera capital
664:A new production of the opera, directed by
632:A performance of a new critical edition of
3520:
3364:
3350:
3342:
3101:Meyerbeer und das europäische Musiktheater
2708:for a picture (link accessed 9 June 2012).
2263:
2261:
2259:
2257:
636:by Wolfgang Kühnhold was presented at the
49:
29:
3323:, 1850 publication, French, digitized by
3316:International Music Score Library Project
3221:Franz Liszt: The Virtuoso Years 1811–1847
3043:French Grand Opera: An Art and a Business
3030:. Cambridge: Cambridge University Press.
1425:(whereby the principal ballerina and the
1268:, who attended the second performance of
3575:Opera world premieres at the Paris Opera
2160:. Oxford University Press. p. 173.
2093:Meyerbeer (1999), p. 384 & pp. 422–3
1549:
1106:Costume designs for the first production
1062:
1002:
702:
399:, they play like lords, they drink like
243:been already successfully represented.'
2957:' in Charlton (2003), pp. 189–207.
2058:
2056:
2052:
1116:
510:– was first presented in London at the
2993:The Cambridge Companion to Grand Opera
2949:Brzoska, Matthias (2003). 'Meyerbeer:
2300:
2022:Choeur de l'Opéra National de Bordeaux
1079:, as painted by the costume designer,
644:(Robert), Stephan Rügamer (Raimbaut),
2865:on operadis-opera-discography.org.uk]
2848:', Metropolitan Museum of Art website
2026:Orchestre National Bordeaux Aquitaine
1010:: "Ballet of the Nuns" from Act 3 of
705:Roles, voice types, and premiere cast
617:(Bertram), Walter Donati (Raimbaut),
597:) in 1911, Barcelona in 1917, at the
363:Poster for the 1831 first performance
236:in his diaries in February 1827. The
7:
3060:Biographie universelle des musiciens
2979:. New Haven: Yale University Press.
2910:Giacomo Meyerbeer: A Life in Letters
1460:) made by the composer and virtuoso
1233:, entitled 'On the Orchestration of
789:Robert's half-sister and Raimbaut's
326:episodes, including, in Act 3, the "
3252:. L'Almanacco di Gherardo Casaglia
3205:. Oxford: Oxford University Press.
3114:Letellier, Robert Ignatius (2012).
3077:. Oxford: Oxford University Press,
3017:Thirty Years' Musical Recollections
2288:"A History of Opera in New Orleans"
1253:is Robert himself." But the critic
1211:and its leader Augustin Levasseur.
2612:Article of 12 July 1835; cited in
1465:reprinted. Indeed, the success of
1337:) and Heinrich Heine (in his poem
25:
3090:The New Grove Dictionary of Opera
2977:Wagner and the Art of the Theatre
2591:, cited in Crosten (1948), p. 114
1458:Reminiscences de Robert le diable
923:The New Grove Dictionary of Opera
550:attended a London performance of
3519:
3294:
3052:, vol.80 no.2, pp. 211–250.
2990:Charlton, David, editor (2003).
2375:Shaw (1981), vol. 3, pp. 530–531
1359:wrote about it at length in her
1266:Frederick William III of Prussia
1175:
1161:
1147:
1133:
1119:
498:Early performances outside Paris
155:is regarded as one of the first
3045:. New York: King's Crown Press.
2603:cited in Brzoska (2003), p. 192
2478:Anne Ozorio (9 December 2012).
2192:cited in Williams (2003), p. 71
962:A room in the palace at Palermo
719:Premiere cast, 21 November 1831
55:Set for Act III in the première
27:1831 opera by Giacomo Meyerbeer
2938:. New York: Penguin / Putnam.
2878:website, accessed 2 June 2014.
2697:Everist (1994), 213. See also
2421:Tim Ashley (7 December 2012).
1852:CD: Richter Audio Encyclopedia
1110:The costumes were designed by
418:At the invitation of Nourrit,
1:
3585:Libretti by Germain Delavigne
3272:"A Discussion of Meyerbeer's
3177:Shaw, George Bernard (1981).
3166:. New York: Greenwood Press.
2579:Crosten (1948) p. 42and p. 47
1257:gave the consensus opinion: "
1024:Quand je quittai la Normandie
589:Nevertheless, productions of
3331:1831 libretto (Paris: Bezou)
3041:Crosten, William L. (1948).
2561:Letellier 2012, pp. 130–131.
1924:Chorus and Orchestra of the
1307:First page of manuscript of
999:The countryside near Palermo
850:Lady-in-waiting to Isabelle
582:, had already cast scorn on
139:between 1827 and 1831, to a
3545:Operas by Giacomo Meyerbeer
3270:Kühnhold, Wolfgang (1998).
3223:. London: Faber and Faber.
3147:Meyerbeer, Giacomo (1999).
2932:The New Penguin Opera Guide
2423:"Robert le diable – Review"
2339:Jürgenson (1998), pp. 78–79
1783:Staatsoper Unter den Linden
1100:Dieu puissant, ciel propice
844:Jean-Étienne-Auguste Massol
3606:
3474:Ein Feldlager in Schlesien
3244:Casaglia, Gherardo (2005).
3073:Hamilton, Kenneth (2008).
3015:Chorley, Henry F. (1972).
2807:de de Meyerbeer, Op. 106.
2760:Hamilton (2008), pp. 87–88
2075:Conway (2012), pp. 246–248
1605:Maggio Musicale Fiorentino
1567:Opera House and Orchestra
1510:Victoria and Albert Museum
1502:Metropolitan Museum of Art
1155:Cinti-Damoreau as Isabelle
1028:Mais Alice, qu’as-tu donc?
753:Princess of Sicily Palmide
691:as Isabelle, conducted by
102:21 November 1831
3550:Libretti by Eugène Scribe
3516:
3023:. New York: Vienna House.
2975:Carnegy, Patrick (2006).
2908:; Becker, Gudrun (1989).
2084:Conway (2012), pp. 249–50
1348:The Count of Monte Cristo
1230:Revue et gazette musicale
1112:François-Gabriel Lépaulle
1093:Outside Palermo Cathedral
1081:François-Gabriel Lépaulle
652:(Isabelle), conducted by
538:The Danish choreographer
512:Theatre Royal, Drury Lane
413:Pierre-Luc-Charles Ciceri
355:Premiere seasons in Paris
232:Meyerbeer first mentions
135:in five acts composed by
48:
37:
2960:Carlson, Marvin (1972).
2923:Berlioz, Hector (1970).
2850:, accessed 16 April 2012
2321:Conway (2012), pp. 114–5
2144:Meyerbeer (1999), p. 391
1781:Chorus and Orchestra of
1535:The Phantom of the Opera
1315:by Chopin and Franchomme
3412:Semiramide riconosciuta
2874:Listing and reviews at
2735:Jürgenson (1998), p. 73
2726:Taruskin (2010), p. 218
2717:Heubner (1992), p. 1359
2224:Jürgenson (1998), p. 76
2183:Heubner (1992), p. 1357
2154:Hector Berlioz (2015).
2114:Taruskin (2010), p. 217
1796:live in Martina Franca
941:Versez à tasses pleines
935:On the shore at Palermo
668:, was premiered at the
272:(in its French version
3555:French-language operas
3399:(1813) (also known as
3026:Conway, David (2012).
2925:The Memoirs of Berlioz
2670:Brzoska (2003), p. 193
2661:Berlioz (1970), p. 569
2643:Everist (1994), p. 210
2366:Levarie (1995), p. 253
2126:Brzoska (2003), p. 190
1894:CD: Brilliant Classics
1589:Gianfranco Manganotti,
1527:Gaiety Theatre, London
1525:, which opened at the
1316:
1084:
1058:Robert, toi que j'aime
1015:
995:
976:La trompette guerrière
917:
471:
405:
364:
248:Robert the Magnificent
216:
3444:Il crociato in Egitto
3305:at Wikimedia Commons
3162:Pitou, Spire (1990).
3099:and its Revival", in
2778:Conway (2012), p. 238
2769:Walker (1983), p. 167
2679:Conway (2012), p. 254
2614:Berlioz and Meyerbeer
2348:Conway (2012), p. 244
2285:Belsom, Jack (2007).
2251:Smart 2003, pp. 113–4
2102:Crosten (1948), p. 92
1913:Jean-François Borras,
1806:Alessandro Codeluppi,
1799:Annalisa Raspagliosi,
1603:Coro e Orchestra del
1531:Andrew Lloyd Webber's
1361:Lettres d'un voyageur
1306:
1066:
1006:
989:
908:
580:The Perfect Wagnerite
461:
392:
388:Revue des Deux-Mondes
362:
256:William the Conqueror
226:Il crociato in Egitto
210:
143:written in French by
3580:Operas set in Sicily
3050:Revue de musicologie
2634:Becker (1989), p. 39
2533:La Monnaie / De Munt
2210:Carlson 1972, p. 75.
1755:Marina Mescheriakova
1476:Grand duo concertant
1351:between two acts of
1309:Grand duo concertant
1237:', which concluded:
1169:Levasseur as Bertram
1067:Act 5 scene 1, with
1048:A room in the palace
832:Jean-Pierre Hurteau
763:Laure Cinti-Damoreau
660:Twenty-first century
466:at the Paris Opéra (
305:La muette de Portici
264:Carl Maria von Weber
3261:"A Few Words About
2688:Everist (1994), 212
2357:Chorley (1972), 194
2242:Fétis 1862, p. 179.
2233:Pitou 1990, p. 449.
1930:DVD: Opus Arte
1874:Martial Defontaine,
1865:Carmen Giannattasio
1740:MP3: House of Opera
1506:Jean-Baptiste Faure
1492:Jean-Amédée Méreaux
1473:jointly composed a
1183:Costume for a devil
1127:Dorus-Gras as Alice
1020:Ah! l’honnête homme
707:
640:in March 2000 with
576:George Bernard Shaw
540:August Bournonville
350:Performance history
3590:The Devil in opera
3458:Ballet of the Nuns
3436:L'esule di Granata
3428:Margherita d'Anjou
3396:Die beiden Kalifen
3281:2015-05-12 at the
2744:Liszt, S. p. 413.
2704:2011-06-30 at the
2529:"Robert le Diable"
2509:on 29 January 2013
2459:on 19 January 2013
2407:2011-04-29 at the
2385:Prague State Opera
1907:Marina Poplavskaya
1787:CD: House of Opera
1609:CD: Pantheon Music
1471:Auguste Franchomme
1317:
1085:
1016:
996:
918:
871:Prince of Granada
703:
638:Berlin State Opera
627:Prague State Opera
472:
373:Ballet of the Nuns
365:
328:Ballet of the Nuns
217:
187:Louis-Désiré Véron
18:Roberto il diavolo
3532:
3531:
3373:Giacomo Meyerbeer
3299:Media related to
3229:978-0-571-15278-0
3211:978-0-19-538483-3
3199:Taruskin, Richard
3083:978-0-19-517826-5
3002:978-0-521-64118-0
2970:978-0-8108-0516-3
2844:'The Ballet from
2589:Théophile Gautier
2167:978-0-19-939195-0
2040:
2039:
1955:live in Brussels
1932:cat. OA BD 7121 (
1926:Royal Opera House
1715:Frances Ginsberg,
1712:live in New York
1674:Michèle Lagrange,
1625:Michèle Lagrange,
1560:Raimbaut, Robert,
1488:Adolf von Henselt
1345:set a chapter of
1141:Nourrit as Robert
946:droit du seigneur
898:
897:
781:Nicolas Levasseur
723:François Habeneck
670:Royal Opera House
566:Twentieth century
548:Felix Mendelssohn
521:Théâtre d'Orléans
516:Haymarket Theatre
468:Salle Le Peletier
462:Act 3 scene 2 of
340:Nicolas Levasseur
221:Gioachino Rossini
149:Germain Delavigne
137:Giacomo Meyerbeer
120:
119:
81:Germain Delavigne
43:Giacomo Meyerbeer
16:(Redirected from
3597:
3523:
3522:
3490:L'étoile du nord
3452:Robert le diable
3420:Emma di Resburgo
3366:
3359:
3352:
3343:
3314:: Scores at the
3311:Robert le diable
3302:Robert le diable
3298:
3274:Robert le diable
3263:Robert le Diable
3255:
3248:Robert le diable
3118:Robert le Diable
3097:Robert le diable
2951:Robert le Diable
2894:
2885:
2879:
2872:
2866:
2862:Robert le diable
2857:
2851:
2846:Robert le Diable
2841:
2835:
2825:Robert le Diable
2821:
2815:
2801:
2795:
2787:Chopin, B. p.70
2785:
2779:
2776:
2770:
2767:
2761:
2758:
2752:
2742:
2736:
2733:
2727:
2724:
2718:
2715:
2709:
2695:
2689:
2686:
2680:
2677:
2671:
2668:
2662:
2659:
2653:
2650:
2644:
2641:
2635:
2632:
2626:
2623:
2617:
2610:
2604:
2601:
2592:
2586:
2580:
2577:
2571:
2568:
2562:
2559:
2553:
2550:
2544:
2543:
2541:
2539:
2525:
2519:
2518:
2516:
2514:
2505:. Archived from
2498:
2492:
2491:
2489:
2487:
2475:
2469:
2468:
2466:
2464:
2455:. Archived from
2451:Robert le diable
2445:
2439:
2438:
2436:
2434:
2418:
2412:
2400:Robert le Diable
2394:
2388:
2382:
2376:
2373:
2367:
2364:
2358:
2355:
2349:
2346:
2340:
2337:
2331:
2328:
2322:
2319:
2313:
2312:
2306:
2298:
2296:
2295:
2283:
2277:
2274:
2268:
2265:
2252:
2249:
2243:
2240:
2234:
2231:
2225:
2222:
2211:
2208:
2202:
2201:Carnegy, p. 15–6
2199:
2193:
2190:
2184:
2181:
2172:
2171:
2151:
2145:
2142:
2136:
2133:
2127:
2124:
2115:
2112:
2103:
2100:
2094:
2091:
2085:
2082:
2076:
2073:
2067:
2064:Robert le diable
2060:
2016:Nicolas Courjal
1996:live and studio
1958:Yolanda Auyanet,
1937:
1840:Stephan Rügamer,
1838:Nelly Miricioiu,
1823:cat. CDS 368/1-3
1764:Stephan Rügamer,
1756:
1671:filmed in Paris
1591:Giorgio Merighi,
1582:Stefania Malagù,
1579:sung in Italian
1558:Alice, Isabelle,
1550:
1540:Robert le diable
1522:Robert the Devil
1481:Adolfo Fumagalli
1390:Fromental Halévy
1367:named after it.
1331:(in his novella
1329:Honoré de Balzac
1286:Robert le diable
1282:Robert le diable
1278:Légion d'honneur
1259:Robert le diable
1251:Robert le diable
1242:Robert le Diable
1235:Robert le diable
1201:Robert le diable
1179:
1165:
1151:
1137:
1123:
1012:Robert le diable
968:En vain j’espère
951:Va! Va! dit-elle
818:Marcelin Lafont
800:Julie Dorus-Gras
735:Duke of Normandy
708:
706:
681:Robert le Diable
634:Robert le diable
619:Michèle Lagrange
599:Vienna Volksoper
574:opera. In 1898,
504:The Fiend-Father
484:Julie Dorus-Gras
384:Filippo Taglioni
346:, respectively.
254:, the father of
239:Journal de Paris
234:Robert le diable
166:Robert the Devil
153:Robert le diable
129:Robert the Devil
124:Robert le diable
109:
107:
64:Robert the Devil
53:
33:Robert le diable
30:
21:
3605:
3604:
3600:
3599:
3598:
3596:
3595:
3594:
3535:
3534:
3533:
3528:
3512:
3388:Jephtas Gelübde
3375:
3370:
3292:
3283:Wayback Machine
3253:
3193:Smart, Mary Ann
2900:Printed sources
2897:
2886:
2882:
2873:
2869:
2858:
2854:
2842:
2838:
2831:available from
2822:
2818:
2811:available from
2805:Robert le Diabl
2802:
2798:
2791:available from
2786:
2782:
2777:
2773:
2768:
2764:
2759:
2755:
2743:
2739:
2734:
2730:
2725:
2721:
2716:
2712:
2706:Wayback Machine
2699:roselocator.com
2696:
2692:
2687:
2683:
2678:
2674:
2669:
2665:
2660:
2656:
2651:
2647:
2642:
2638:
2633:
2629:
2624:
2620:
2611:
2607:
2602:
2595:
2587:
2583:
2578:
2574:
2569:
2565:
2560:
2556:
2551:
2547:
2537:
2535:
2527:
2526:
2522:
2512:
2510:
2500:
2499:
2495:
2485:
2483:
2477:
2476:
2472:
2462:
2460:
2447:
2446:
2442:
2432:
2430:
2420:
2419:
2415:
2409:Wayback Machine
2402:in March, 2000"
2395:
2391:
2383:
2379:
2374:
2370:
2365:
2361:
2356:
2352:
2347:
2343:
2338:
2334:
2329:
2325:
2320:
2316:
2299:
2293:
2291:
2286:
2284:
2280:
2276:Kühnhold (1988)
2275:
2271:
2266:
2255:
2250:
2246:
2241:
2237:
2232:
2228:
2223:
2214:
2209:
2205:
2200:
2196:
2191:
2187:
2182:
2175:
2168:
2153:
2152:
2148:
2143:
2139:
2134:
2130:
2125:
2118:
2113:
2106:
2101:
2097:
2092:
2088:
2083:
2079:
2074:
2070:
2061:
2054:
2045:
2035:
2031:
2020:
2019:Marc Minkowski,
2015:
2010:
2008:
2003:
1995:
1993:
1986:
1981:
1973:Nicolas Courjal
1971:
1966:
1964:
1961:Lisette Oropesa
1959:
1954:
1952:
1933:
1931:
1923:
1916:
1914:
1912:
1911:Patrizia Ciofi,
1910:
1902:
1895:
1890:
1880:
1875:
1873:
1868:
1860:
1853:
1848:
1847:Marc Minkowski,
1844:Kwangchul Youn
1843:
1841:
1839:
1837:
1833:live in Berlin
1832:
1830:
1824:
1822:
1817:
1816:Renato Palumbo,
1813:Giorgio Surjan
1812:
1807:
1805:
1800:
1795:
1788:
1780:
1770:
1765:
1763:
1760:Nelly Miricioiu
1758:
1754:
1751:live in Berlin
1750:
1748:
1741:
1736:
1728:
1723:
1720:Anthony Laciura
1718:
1716:
1711:
1709:
1696:
1694:
1689:
1684:
1679:
1677:
1675:
1670:
1657:
1655:
1648:
1638:
1633:
1631:
1626:
1621:
1612:
1610:
1602:
1594:Boris Christoff
1592:
1590:
1588:
1583:
1578:
1576:
1566:
1561:
1559:
1557:
1548:
1542:by Meyerbeer."
1427:corps de ballet
1343:Alexandre Dumas
1321:July Revolution
1296:The success of
1294:
1192:
1185:
1184:
1180:
1171:
1170:
1166:
1157:
1156:
1152:
1143:
1142:
1138:
1129:
1128:
1124:
1108:
1090:
1045:
984:
959:
932:
903:
771:Robert's friend
745:Adolphe Nourrit
720:
704:
701:
689:Lisette Oropesa
687:as Bertram and
685:Nicolas Courjal
662:
650:Nelly Miricioiu
607:Boris Christoff
568:
529:Ludwig Rellstab
500:
492:François Wartel
488:Prosper Dérivis
449:Alexandre Dumas
420:Cornélie Falcon
409:Henri Duponchel
357:
352:
344:Adolphe Nourrit
332:Henri Duponchel
205:
175:Frédéric Chopin
116:
115:
110:
105:
103:
85:
56:
28:
23:
22:
15:
12:
11:
5:
3603:
3601:
3593:
3592:
3587:
3582:
3577:
3572:
3567:
3562:
3557:
3552:
3547:
3537:
3536:
3530:
3529:
3525:List of operas
3517:
3514:
3513:
3511:
3510:
3502:
3494:
3486:
3478:
3470:
3462:
3448:
3440:
3432:
3424:
3416:
3408:
3401:wirth und Gast
3392:
3383:
3381:
3377:
3376:
3371:
3369:
3368:
3361:
3354:
3346:
3338:
3337:
3328:
3327:on archive.org
3318:
3291:
3290:External links
3288:
3287:
3286:
3268:
3259:Kaufman, Tom,
3257:
3239:Online sources
3236:
3235:
3232:
3214:
3196:
3190:
3175:
3160:
3145:
3131:
3120:: The Premier
3112:
3093:
3086:
3071:
3053:
3046:
3039:
3024:
3013:
2988:
2973:
2958:
2947:
2928:
2921:
2896:
2895:
2880:
2867:
2860:Recordings of
2852:
2836:
2816:
2796:
2780:
2771:
2762:
2753:
2737:
2728:
2719:
2710:
2690:
2681:
2672:
2663:
2654:
2645:
2636:
2627:
2618:
2605:
2593:
2581:
2572:
2563:
2554:
2552:Heubner (1992)
2545:
2520:
2493:
2470:
2440:
2413:
2396:Stephen Agus,
2389:
2377:
2368:
2359:
2350:
2341:
2332:
2323:
2314:
2278:
2269:
2253:
2244:
2235:
2226:
2212:
2203:
2194:
2185:
2173:
2166:
2146:
2137:
2128:
2116:
2104:
2095:
2086:
2077:
2068:
2051:
2044:
2041:
2038:
2037:
2028:
2017:
2009:Nico Darmanin,
1997:
1989:
1988:
1985:CD: Euro Opera
1983:
1975:
1968:Dmitry Korchak
1956:
1948:
1947:
1928:
1920:
1904:
1898:
1897:
1892:
1884:
1882:Alastair Miles
1870:Patrizia Ciofi
1862:
1856:
1855:
1850:
1845:
1836:Brigitte Hahn,
1834:
1826:
1825:
1819:
1814:
1802:Patrizia Ciofi
1797:
1791:
1790:
1785:
1777:Marc Minkowski
1774:
1772:Kwangchul Youn
1752:
1744:
1743:
1738:
1730:
1713:
1705:
1704:
1691:
1688:Thomas Fulton,
1686:
1681:Rockwell Blake
1678:Walter Donati,
1676:June Anderson,
1672:
1666:
1665:
1652:
1642:
1632:Walter Donati,
1623:
1617:
1616:
1607:
1596:
1580:
1572:
1571:
1568:
1563:
1554:
1547:
1544:
1422:ballets blancs
1293:
1290:
1247:
1246:
1225:Hector Berlioz
1205:Heinrich Heine
1191:
1188:
1187:
1186:
1182:
1181:
1174:
1172:
1168:
1167:
1160:
1158:
1154:
1153:
1146:
1144:
1140:
1139:
1132:
1130:
1126:
1125:
1118:
1107:
1104:
1089:
1086:
1044:
1041:
1014:(1876 version)
983:
980:
958:
955:
931:
928:
902:
899:
896:
895:
893:Marie Taglioni
890:
885:
878:
877:
875:
872:
868:
867:
865:
862:
858:
857:
854:
851:
847:
846:
841:
838:
834:
833:
830:
827:
820:
819:
816:
813:
803:
802:
797:
794:
784:
783:
778:
773:
766:
765:
760:
755:
748:
747:
742:
737:
727:
726:
717:
712:
700:
697:
661:
658:
654:Marc Minkowski
646:Kwangchul Youn
611:Rockwell Blake
567:
564:
499:
496:
490:(Bertram) and
476:Gilbert Duprez
445:Honoré Daumier
437:Maria Malibran
377:Marie Taglioni
356:
353:
351:
348:
274:Robin des bois
269:Der Freischütz
204:
201:
118:
117:
111:
101:
99:
95:
94:
91:
87:
86:
84:
83:
78:
72:
70:
66:
65:
62:
58:
57:
54:
46:
45:
35:
34:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3602:
3591:
3588:
3586:
3583:
3581:
3578:
3576:
3573:
3571:
3568:
3566:
3563:
3561:
3558:
3556:
3553:
3551:
3548:
3546:
3543:
3542:
3540:
3527:
3526:
3515:
3508:
3507:
3503:
3500:
3499:
3495:
3492:
3491:
3487:
3484:
3483:
3479:
3476:
3475:
3471:
3468:
3467:
3466:Les Huguenots
3463:
3460:
3459:
3454:
3453:
3449:
3446:
3445:
3441:
3438:
3437:
3433:
3430:
3429:
3425:
3422:
3421:
3417:
3414:
3413:
3409:
3406:
3402:
3398:
3397:
3393:
3390:
3389:
3385:
3384:
3382:
3378:
3374:
3367:
3362:
3360:
3355:
3353:
3348:
3347:
3344:
3340:
3336:
3332:
3329:
3326:
3322:
3319:
3317:
3313:
3312:
3308:
3307:
3306:
3304:
3303:
3297:
3289:
3284:
3280:
3277:
3275:
3269:
3266:
3264:
3258:
3251:
3249:
3243:
3242:
3241:
3240:
3233:
3230:
3226:
3222:
3218:
3215:
3212:
3208:
3204:
3200:
3197:
3194:
3191:
3188:
3187:0-370-30333-4
3184:
3180:
3176:
3173:
3172:9780313262180
3169:
3165:
3161:
3158:
3157:9780838637890
3154:
3150:
3146:
3144:
3140:
3136:
3132:
3129:
3128:9781443841917
3125:
3121:
3117:
3113:
3110:
3109:3-89007-410-3
3106:
3102:
3098:
3094:
3091:
3087:
3084:
3080:
3076:
3072:
3069:
3065:
3061:
3057:
3054:
3051:
3047:
3044:
3040:
3037:
3036:9781107015388
3033:
3029:
3025:
3022:
3021:Ernest Newman
3018:
3014:
3011:
3010:9780521646833
3007:
3004:(hardcover);
3003:
2999:
2995:
2994:
2989:
2986:
2985:9780300106954
2982:
2978:
2974:
2971:
2967:
2963:
2959:
2956:
2955:Les Huguenots
2952:
2948:
2945:
2944:0-14-029312-4
2941:
2937:
2936:Amanda Holden
2933:
2929:
2926:
2922:
2919:
2918:0-931340-19-5
2915:
2911:
2907:
2906:Becker, Heinz
2904:
2903:
2902:
2901:
2893:
2889:
2884:
2881:
2877:
2871:
2868:
2864:
2863:
2856:
2853:
2849:
2847:
2840:
2837:
2834:
2830:
2826:
2820:
2817:
2814:
2810:
2806:
2800:
2797:
2794:
2790:
2784:
2781:
2775:
2772:
2766:
2763:
2757:
2754:
2751:
2747:
2741:
2738:
2732:
2729:
2723:
2720:
2714:
2711:
2707:
2703:
2700:
2694:
2691:
2685:
2682:
2676:
2673:
2667:
2664:
2658:
2655:
2649:
2646:
2640:
2637:
2631:
2628:
2622:
2619:
2615:
2609:
2606:
2600:
2598:
2594:
2590:
2585:
2582:
2576:
2573:
2567:
2564:
2558:
2555:
2549:
2546:
2534:
2530:
2524:
2521:
2508:
2504:
2497:
2494:
2482:. Opera Today
2481:
2474:
2471:
2458:
2454:
2452:
2444:
2441:
2428:
2424:
2417:
2414:
2410:
2406:
2403:
2401:
2393:
2390:
2386:
2381:
2378:
2372:
2369:
2363:
2360:
2354:
2351:
2345:
2342:
2336:
2333:
2327:
2324:
2318:
2315:
2310:
2304:
2289:
2282:
2279:
2273:
2270:
2264:
2262:
2260:
2258:
2254:
2248:
2245:
2239:
2236:
2230:
2227:
2221:
2219:
2217:
2213:
2207:
2204:
2198:
2195:
2189:
2186:
2180:
2178:
2174:
2169:
2163:
2159:
2158:
2150:
2147:
2141:
2138:
2132:
2129:
2123:
2121:
2117:
2111:
2109:
2105:
2099:
2096:
2090:
2087:
2081:
2078:
2072:
2069:
2065:
2059:
2057:
2053:
2050:
2049:
2042:
2036:cat. BZ 1049
2034:
2030:CDs and book:
2029:
2027:
2023:
2018:
2013:
2006:
2001:
1998:
1991:
1990:
1987:cat. EO 3713
1984:
1979:
1976:
1974:
1969:
1962:
1957:
1950:
1949:
1945:
1941:
1936:
1929:
1927:
1921:
1919:
1908:
1905:
1900:
1899:
1896:cat. 94604-3
1893:
1888:
1885:
1883:
1878:
1871:
1866:
1863:
1858:
1857:
1851:
1846:
1842:Jianyi Zhang,
1835:
1828:
1827:
1820:
1815:
1810:
1803:
1798:
1793:
1792:
1786:
1784:
1778:
1775:
1773:
1768:
1761:
1753:
1746:
1745:
1739:
1734:
1731:
1729:Samuel Ramey
1726:
1725:Chris Merritt
1721:
1717:Marilyn Mims,
1714:
1707:
1706:
1703:
1699:
1695:cat. DVD 2006
1692:
1687:
1685:Samuel Ramey
1682:
1673:
1668:
1667:
1664:
1660:
1653:
1651:
1646:
1645:Thomas Fulton
1643:
1641:
1636:
1629:
1628:June Anderson
1624:
1619:
1618:
1615:
1611:cat. XLNC 127
1608:
1606:
1600:
1599:Nino Sanzogno
1597:
1595:
1586:
1585:Renata Scotto
1581:
1574:
1573:
1569:
1564:
1555:
1552:
1551:
1545:
1543:
1541:
1537:
1536:
1532:
1528:
1524:
1523:
1518:
1517:W. S. Gilbert
1513:
1511:
1507:
1503:
1499:
1495:
1493:
1489:
1484:
1482:
1478:
1477:
1472:
1468:
1463:
1459:
1454:
1452:
1451:
1450:Les Sylphides
1446:
1445:
1444:Pas de Quatre
1440:
1439:
1434:
1433:
1428:
1424:
1423:
1417:
1415:
1411:
1407:
1406:
1401:
1397:
1396:
1391:
1387:
1386:
1385:Les Huguenots
1381:
1377:
1376:privatization
1373:
1368:
1366:
1362:
1358:
1354:
1350:
1349:
1344:
1340:
1336:
1335:
1330:
1326:
1325:July Monarchy
1322:
1314:
1311:on themes of
1310:
1305:
1301:
1299:
1291:
1289:
1287:
1283:
1279:
1275:
1271:
1267:
1262:
1260:
1256:
1252:
1243:
1240:
1239:
1238:
1236:
1232:
1231:
1226:
1222:
1218:
1217:orchestration
1212:
1210:
1206:
1202:
1198:
1189:
1178:
1173:
1164:
1159:
1150:
1145:
1136:
1131:
1122:
1117:
1115:
1113:
1105:
1103:
1101:
1095:
1094:
1087:
1082:
1078:
1074:
1070:
1065:
1061:
1059:
1054:
1050:
1049:
1042:
1040:
1038:
1033:
1032:Saint Rosalia
1029:
1025:
1021:
1013:
1009:
1005:
1001:
1000:
993:
988:
981:
979:
977:
973:
969:
964:
963:
956:
954:
952:
948:
947:
942:
937:
936:
929:
927:
925:
924:
915:
911:
907:
900:
894:
891:
889:
886:
884:
880:
879:
876:
873:
870:
869:
866:
863:
860:
859:
855:
852:
849:
848:
845:
842:
839:
836:
835:
831:
828:
826:
822:
821:
817:
814:
812:
811:
805:
804:
801:
798:
795:
793:
792:
786:
785:
782:
779:
777:
776:bass-baritone
774:
772:
768:
767:
764:
761:
759:
756:
754:
750:
749:
746:
743:
741:
738:
736:
732:
729:
728:
724:
718:
716:
713:
710:
709:
698:
696:
694:
690:
686:
682:
678:
673:
671:
667:
666:Laurent Pelly
659:
657:
655:
651:
647:
643:
639:
635:
630:
628:
624:
623:June Anderson
620:
616:
612:
608:
604:
603:Renata Scotto
600:
596:
595:Gaité Lyrique
592:
587:
585:
581:
577:
573:
565:
563:
561:
560:Henry Chorley
557:
553:
549:
544:
541:
536:
534:
530:
524:
522:
517:
513:
509:
505:
497:
495:
493:
489:
485:
481:
477:
469:
465:
460:
456:
454:
450:
446:
442:
438:
434:
430:
426:
421:
416:
414:
410:
404:
402:
398:
391:
389:
385:
380:
378:
374:
370:
361:
354:
349:
347:
345:
341:
337:
333:
329:
325:
321:
317:
316:
311:
307:
306:
301:
297:
291:
288:
287:Opéra-Comique
284:
283:
282:opéra comique
277:
275:
271:
270:
265:
261:
257:
253:
249:
244:
241:
240:
235:
230:
228:
227:
222:
214:
209:
202:
200:
198:
194:
192:
188:
184:
180:
176:
170:
168:
167:
162:
158:
154:
150:
146:
145:Eugène Scribe
142:
138:
134:
130:
126:
125:
114:
100:
96:
92:
88:
82:
79:
77:
76:Eugène Scribe
74:
73:
71:
67:
63:
59:
52:
47:
44:
40:
36:
31:
19:
3560:Grand operas
3518:
3504:
3496:
3488:
3480:
3472:
3464:
3456:
3451:
3450:
3442:
3434:
3426:
3418:
3410:
3404:
3400:
3394:
3386:
3339:
3335:Google Books
3310:
3301:
3293:
3273:
3262:
3254:(in Italian)
3247:
3238:
3237:
3220:
3217:Walker, Alan
3202:
3178:
3163:
3148:
3134:
3119:
3116:Meyerbeer's
3115:
3100:
3096:
3089:
3074:
3068:Google Books
3059:
3049:
3042:
3027:
3019:, edited by
3016:
3012:(paperback).
2991:
2976:
2961:
2954:
2950:
2934:, edited by
2931:
2924:
2909:
2899:
2898:
2883:
2870:
2861:
2855:
2845:
2839:
2824:
2819:
2804:
2799:
2783:
2774:
2765:
2756:
2740:
2731:
2722:
2713:
2693:
2684:
2675:
2666:
2657:
2648:
2639:
2630:
2621:
2608:
2584:
2575:
2566:
2557:
2548:
2536:. Retrieved
2532:
2523:
2511:. Retrieved
2507:the original
2496:
2484:. Retrieved
2473:
2461:. Retrieved
2457:the original
2450:
2443:
2431:. Retrieved
2427:The Guardian
2416:
2399:
2392:
2380:
2371:
2362:
2353:
2344:
2335:
2326:
2317:
2292:. Retrieved
2281:
2272:
2247:
2238:
2229:
2206:
2197:
2188:
2156:
2149:
2140:
2131:
2098:
2089:
2080:
2071:
2063:
2047:
2046:
1994:Sept. 20–27,
1978:Evelino Pidò
1965:Julien Dran,
1938:), OA 1106 (
1922:Daniel Oren,
1915:Bryan Hymel,
1854:cat. AE 006
1789:cat. CD 689
1767:Jianyi Zhang
1640:Samuel Ramey
1539:
1533:
1520:
1514:
1496:
1485:
1474:
1466:
1457:
1455:
1448:
1442:
1436:
1430:
1420:
1418:
1409:
1403:
1400:Daniel Auber
1393:
1383:
1379:
1371:
1369:
1360:
1352:
1346:
1338:
1332:
1318:
1312:
1308:
1297:
1295:
1285:
1281:
1273:
1269:
1263:
1258:
1250:
1248:
1241:
1234:
1228:
1213:
1200:
1193:
1109:
1099:
1096:
1092:
1091:
1057:
1055:
1051:
1047:
1046:
1027:
1023:
1019:
1017:
1011:
998:
997:
975:
967:
965:
961:
960:
950:
944:
940:
938:
934:
933:
921:
919:
882:
824:
807:
788:
770:
752:
734:
721:(Conductor:
693:Evelino Pidò
680:
674:
663:
642:Jianyi Zhang
633:
631:
621:(Alice) and
615:Samuel Ramey
590:
588:
583:
579:
569:
551:
545:
537:
533:Theodor Hell
525:
508:Rophino Lacy
503:
501:
473:
463:
441:Giulia Grisi
417:
406:
393:
387:
381:
366:
315:William Tell
313:
303:
296:Spa, Belgium
292:
280:
278:
273:
267:
245:
237:
233:
231:
224:
218:
212:
196:
195:
182:
178:
171:
164:
157:grand operas
152:
128:
123:
122:
121:
3570:1831 operas
3506:L'Africaine
3482:Le prophète
2538:27 November
2513:30 December
2501:Sam Smith.
2486:22 December
2433:22 December
2012:John Osborn
2005:Erin Morley
2000:Amina Edris
1918:John Relyea
1887:Daniel Oren
1877:Bryan Hymel
1821:CD: Dynamic
1693:DVD: Encore
1635:Alain Vanzo
1498:Edgar Degas
1462:Franz Liszt
1447:(1845) and
1432:La Sylphide
1405:Gustave III
1357:George Sand
1197:Schlesinger
912:as Robert (
453:Victor Hugo
369:Paris Opéra
322:and adding
320:recitatives
308:(1828) and
161:Paris Opéra
113:Paris Opéra
61:Translation
39:Grand opera
3539:Categories
3143:0333231112
3056:Fétis F-J.
2463:6 December
2294:2013-06-11
2043:References
1903:Dec. 6–15
1809:Warren Mok
1742:cat. 7784
1733:Eve Queler
1656:cat. 85003
1654:CD: Adonis
1565:Conductor,
1546:Recordings
1512:, London.
1053:Isabelle.
994:, c. 1831)
972:tournament
806:Raimbaut,
751:Isabelle,
715:Voice type
677:La Monnaie
613:(Robert),
556:Jenny Lind
397:bacchantes
203:Background
106:1831-11-21
69:Librettist
2892:853794284
2827:, Op.11.
1861:March 23
1831:March 11,
1749:March 14,
1339:Angélique
1292:Influence
1221:chromatic
1190:Reception
1069:Levasseur
888:ballerina
823:Alberti,
769:Bertram,
572:Wagnerian
486:(Alice),
3455:(1831) (
3405:Alimelek
3279:Archived
3219:(1988).
3201:(2010).
3058:(1862).
2876:Operadis
2702:Archived
2429:(London)
2405:Archived
2303:cite web
2066:, p. 572
2033:Bru Zane
1982:unknown
1953:April 5,
1737:unknown
1710:Feb. 21,
1702:62095709
1663:44115287
1614:WorldCat
1562:Bertram
1453:(1909).
1441:(1841),
1395:La Juive
926:(1992).
910:Guéymard
901:Synopsis
881:Hėléna,
853:soprano
825:a knight
810:minstrel
796:soprano
546:In 1847
285:for the
252:Normandy
141:libretto
131:) is an
98:Premiere
90:Language
3498:Dinorah
2387:website
2267:Kaufman
2062:Brown,
1935:Blu-ray
1622:July 2
1438:Giselle
1334:Gambara
1073:Nourrit
916:, 1857)
914:Courbet
874:silent
861:Priest
837:Herald
791:fiancée
787:Alice,
758:soprano
470:), 1831
429:Berlioz
401:sappers
336:Olympus
310:Rossini
159:at the
104: (
3565:Operas
3509:(1865)
3501:(1859)
3493:(1854)
3485:(1849)
3477:(1844)
3469:(1836)
3447:(1824)
3439:(1822)
3431:(1820)
3423:(1819)
3415:(1819)
3391:(1812)
3380:Operas
3227:
3209:
3185:
3170:
3155:
3141:
3126:
3107:
3081:
3034:
3008:
3000:
2983:
2968:
2942:
2916:
2890:
2164:
1942:
1700:
1661:
1577:May 7,
1570:Label
1467:Robert
1410:Robert
1398:, and
1380:Robert
1372:Robert
1355:; and
1353:Robert
1313:Robert
1298:Robert
1274:Robert
1270:Robert
1209:claque
1083:(1835)
1077:Falcon
1075:, and
992:Ciceri
883:Abbess
856:Lavry
840:tenor
815:tenor
731:Robert
591:Robert
584:Robert
552:Robert
464:Robert
433:Halévy
324:ballet
213:Robert
197:Robert
191:ballet
183:Robert
179:Robert
93:French
2833:IMSLP
2829:Score
2813:IMSLP
2809:Score
2793:IMSLP
2789:Score
2750:IMSLP
2746:Score
2048:Notes
1992:2021,
1951:2019,
1901:2012,
1859:2012,
1829:2001,
1794:2000,
1747:2000,
1708:1988,
1669:1985,
1620:1985,
1575:1968,
1556:Cast:
1553:Year
1255:Fétis
1088:Act 5
1043:Act 4
1037:dance
1008:Degas
982:Act 3
957:Act 2
930:Act 1
864:bass
829:bass
740:tenor
711:Role
699:Roles
578:, in
506:, by
480:Mario
425:Auber
300:Auber
260:Devil
133:opera
3403:and
3225:ISBN
3207:ISBN
3183:ISBN
3168:ISBN
3153:ISBN
3139:ISBN
3124:ISBN
3105:ISBN
3079:ISBN
3064:View
3032:ISBN
3006:ISBN
2998:ISBN
2981:ISBN
2966:ISBN
2953:and
2940:ISBN
2914:ISBN
2888:OCLC
2540:2018
2515:2012
2488:2012
2465:2012
2435:2012
2309:link
2162:ISBN
1940:NTSC
1698:OCLC
1659:OCLC
1490:and
1365:rose
605:and
451:and
411:and
342:and
147:and
3333:at
3325:BYU
3066:at
2748:at
1944:DVD
1402:'s
1392:'s
978:).
675:At
312:'s
302:'s
266:'s
250:of
41:by
3541::
2596:^
2531:.
2425:.
2305:}}
2301:{{
2256:^
2215:^
2176:^
2119:^
2107:^
2055:^
2024:,
1946:)
1519:,
1494:.
1388:,
1114:.
1071:,
808:a
733:,
725:)
695:.
656:.
629:.
447:,
443:,
439:,
435:,
431:,
427:,
390::
379:.
169:.
151:.
3461:)
3407:)
3365:e
3358:t
3351:v
3276:"
3265:"
3256:.
3250:"
3246:"
3231:.
3213:.
3189:.
3174:.
3159:.
3130:.
3111:.
3085:.
3070:.
3038:.
2987:.
2972:.
2946:.
2920:.
2542:.
2517:.
2490:.
2467:.
2453:"
2437:.
2311:)
2297:.
2170:.
2014:,
2007:,
2002:,
1980:,
1970:,
1963:,
1909:,
1889:,
1879:,
1872:,
1867:,
1811:,
1804:,
1779:,
1769:,
1762:,
1757:,
1735:,
1727:,
1722:,
1683:,
1647:,
1637:,
1630:,
1601:,
1587:,
215:.
127:(
108:)
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
