Podcasts about Giacomo Meyerbeer

Curtain-up on the life of 19th-century opera star Giacomo Meyerbeer, with Donald MacleodWith smash hits including 'Robert le diable', 'Les Huguenots' and 'Le Prophète', Giacomo Meyerbeer was one of the most performed composers on the 19th-century stages: (re)discover the celebrated King of Grand Opera, in his own quasi-operatic life of sparkling successes, plot twists and travelling adventures, but also of prejudice and hardship.Music Featured:Robert le diable (excerpts) Le pardon de Ploërmel, Act I, "Ce tintement que l'on entend" L'Africaine, Act IV, No 15 Entr'acte, Entrée de la Reine, Marche indienne Der Fischer und das Milchmädchen (excerpts) Der Admiral Overture Gott und die Natur (No 7, "Es geht aus seinem Strahlentor") arr D. Salvi for voice, strings & piano Das Brandenburger Tor (Einleitung) Jephtas Gelübde Overture (arr D. Salvi for piano and strings) Il nascere e il fiorire d'una rosa Le Prophète, Act I (No 1a: Prélude et chœur pastoral. "La brise est muette") Gli amori di Teolinda (IV. Allegro moderato) Romilda e Costanza Overture Emma di Resburgo, Act I, Scene 1: "Sulla rupe triste, sola...Ah questo bacio" Il crociato in Egitto (excerpts) Margherita d'Anjou, Act II, "Che bell'alba!" A une jeune mère An Mozart Struensee, Act II: Entr'acte, Der Ball Les Huguenots (excerpts) Fantasie for clarinet & string quartet Ein Feldlager in Schlesien (excerpts) Psalm 91 Le Prophète (excerpts) Pater Noster L'Étoile du Nord, Act III, Scène 8. "Quel trouble affreux" (Danilowitz)Presented by Donald Macleod Produced by Julien Rosa for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Giacomo Meyerbeer (1791-1864) https://www.bbc.co.uk/programmes/m0027bqw And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

(00:50) Der Intendant der Zuger Sinfonietta spricht über Musik-Vermittlung und die Werke von Giacomo Meyerbeer. Weitere Themen: (12:42) «Upcycling Music» im Historischen Museum Basel: Musikinstrumente gebaut aus Abfall. (17:25) «Sauvages» von Claude Barras ist ein sehenswerter Animationsfilm für jede Altersklasse. (21:45) «Die Nazis vom Schächenwald»: Ein unbekanntes Kapitel Urner Geschichte. (26:11) Die Fantasie der Natur: Der Werbefotograf Fred Waldvogel hat 40 Jahre lang Pilze fotografiert.

Giacomo Meyerbeer - The Prophet: Ballet of the Skaters: GalopBarcelona Symphony Orchestra Michal Nesterowicz, conductorMore info about today's track: Naxos 8.573076Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Vor 175 Jahren erlebte er an der Pariser Opéra seine Uraufführung - "Le Prophète / Der Prophet" von Giacomo Meyerbeer. Vom Festival d‘Aix-en-Provence kommt nun ein Live-Mitschnitt mit dem London Symphony Orchestra unter der Leitung von Mark Elder. Volkmar Fischer hat sich die Aufnahme angehört.

durée : 01:27:47 - En pistes ! du lundi 26 août 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Pour le coup d'envoi de cette nouvelle saison à vos côtés, Emilie et Rodolphe ont sélectionné les œuvres de Robert Schumann, Giacomo Meyerbeer, Karl Friedrich Abel, Carl Stamitz, Augusta Holmès et bien d'autres ! Heureux de vous retrouver sur En pistes !

durée : 01:27:47 - En pistes ! du lundi 26 août 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Pour le coup d'envoi de cette nouvelle saison à vos côtés, Emilie et Rodolphe ont sélectionné les œuvres de Robert Schumann, Giacomo Meyerbeer, Karl Friedrich Abel, Carl Stamitz, Augusta Holmès et bien d'autres ! Heureux de vous retrouver sur En pistes !

Antonio Salieri havia alcançado uma elevada posição social, sendo frequentemente associado com outros celebrizados compositores, como Joseph Haydn ou Louis Spohr. Desempenhou um papel importante na música clássica do século XIX e ensinou compositores famosos como Ludwig Van Beethoven, Carl Czerny, Johann Nepomuk Hummel, Franz Liszt, Giacomo Meyerbeer, Ignaz Moscheles, Franz Schubert e Franz Xaver Süssmayr. Ensinou também ao filho mais novo de Mozart, Franz Xaver Apresentado por Aroldo Glomb com participação especial de Aarão Barreto, nosso padrinho! Seja nosso padrinho: ⁠⁠⁠⁠⁠⁠https://apoia.se/conversadecamara⁠⁠⁠⁠⁠⁠ RELAÇÃO DE PADRINS Aarão Barreto, Adriano Caldas, Gustavo Klein, Fernanda Itri, Eduardo Barreto, Fernando Ricardo de Miranda, Leonardo Mezzzomo,Thiago Takeshi Venancio Ywata, Ediney Giordani, Tramujas Jr, Brasa de Andrade Neto e Aldo França.

Das ZeitZeichen am 2. Mai 2024.

Vor jeder Premiere war er krank vor Nervosität: Dabei war Giacomo Meyerbeer schon zu Lebzeiten ein Star-Komponist und Erfinder der "Großen Oper". Am 2.5.1864 stirbt er in Paris. Von Holger Noltze.

Giacomo Meyerbeer - Semiramide: SinfoniaWurttemberg Philharmonic OrchestraRichard Bonynge, conductorMore info about today's track: Naxos 8.660205-06Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Giacomo Meyerbeer - HallelujahChristoph Lehmann, organRheinische KantoreiHermann Max, conductorMore info about today's track: CPO 555065-2Courtesy of Naxos of America Inc. SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

A cura di Paolo PellegriniGiacomo Meyerbeer Gli UgonottiRaoul de Nangis, Franco CorelliValentine, Giulietta SimionatoMarguerite de Valois, Joan SutherlandMarcel, Nicolai GhiaurovIl Conte di Saint-Bris, Giorgio TozziUrbain, Fiorenza CossottoIl Conte di Nevers, Wladimiro GanzarolliThavannes, Piero De PalmaCossé, Giuseppe BertinazzoThoré, Manuel SpataforaDe Retz, Antonio CassinelliMéru, Alfredo GiacomottiBois-Rosé, Walter GullinoMaurevert, Silvio MaionicaUn arciere della guardia notturna – Virgilio CarbonariUna dama di corte della regina Margherita – Clara FotiUn servo del conte di Nevers – Angelo MercurialiQuattro signori – Walter Gullino, Angelo Mercuriali, Giuseppe Morresi, Alfredo GiacomottiTre frati – Enzo Guagni, Virgilio Carbonari, Giovanni AntoniniDue zingarelle – Maddalena Bonifaccio, Clara FotiCoro e Orchestra del Teatro alla Scala di MilanoGianandrea Gavazzeni, direttore

This week, we talk about hymn #196, Jesus, Once of Humble Birth with text by Parley P. Pratt, and music by Giacomo Meyerbeer. We talk about the journey of this tune from a highly-acclaimed opera to a beloved hymn. Our hymn this week corresponds with the Come, Follow Me reading in Joseph Smith- Matthew, Matthew 24-25, Mark 12-13, and Luke 21. Join us as we take joy in the second coming of Jesus Christ! Connect with us! Website: KnowingHymn.weebly.com Facebook Group: Knowing Hymn Instagram: KnowingHymn Twitter @ KnowingHymn Email: knowinghymn@gmail.com

Synopsis On today's date in 1865, the hottest ticket in Paris was for the premiere of Giacomo Meyerbeer's long-awaited grand opera L'Africaine, or The African Maid, at the Paris Opera. And when I say “long-awaited,” I mean long-awaited! Meyerbeer had begun work on “L'Africaine” some 25 years earlier. It had become a standing joke in the French press to rib Meyerbeer about the “imminent” completion of his opera. There were many reasons for the delay. Meyerbeer was a slow-worker, a perfectionist; he was sidelined by ill-health; he was waiting for better singers, more sympathetic management at the Opera, etc. etc. Opera fans back then must have given up hope Meyerbeer would ever finish L'Africaine, but – surprise! – he did and the work was slotted for production at the Paris Opera. At that point, ironically, Meyerbeer died, and his widow entrusted another composer to supervise the rehearsals for its 1865 premiere. Meyerbeer's operas were the 19th century equivalent of the sweeping costume epic movies of Cecil B. DeMille. In L'Africaine, the hero is the explorer Vasco da Gama, and one of the opera's more spectacular stage effects involved a Portuguese ship running aground on an exotic reef and being taken over by a swarm of natives. Music Played in Today's Program Giacomo Meyerbeer (1791 – 1864) O paradis, from L'Africaine Ben Heppner, tenor; London Symphony; Myung-Whun Chung, conductor. DG 471 372

Synopsis On today's date in 1841 an all-Beethoven concert was given at the Salle Erard to raise funds for the proposed Beethoven monument in Bonn, the late composer's birthplace. Franz Liszt was the piano soloist in Beethoven's “Emperor” Concerto, conducted by Hector Berlioz. About a month earlier, Liszt had dazzled Paris with the premiere of his new piano fantasia on themes from the popular opera “Robert the Devil,” by Giacomo Meyerbeer. So, as Liszt walked on stage—with the entire orchestra in place, all ready for Beethoven's Concerto—the audience clamored loudly for a repeat performance. They made such a racket that Berlioz and the orchestra had no choice but to sit idly by until Liszt first encored his Fantasia. In the audience was a 27-year old German named Richard Wagner, reviewing the concert for a Dresden newspaper. Wagner was outraged that the Beethoven was put on hold for Liszt's flashy solo. We're not sure if Wagner attended a concert the following day at the Salle Pleyel, but any modern-day time traveler would probably want to stick around to hear Frederic Chopin give one of HIS rare Parisian recitals, performing, among other works, his own F-Major Ballade. Music Played in Today's Program Franz Liszt (1811 – 1886) Reminiscences de Robert le Diable Leslie Howard, piano Hyperion 66861

Synopsis If "Entertainment Tonight!" were around in Paris in 1831, they would probably have offered a breathless special edition report on a concert that occurred on today's date that year. Everybody who was anybody was there: from the literary world, the French novelist Victor Hugo, author of "Les Miz," don't you know, and the writer Alfred de Mussett, who they SAY was living in sin with that cross-dressing Baroness, who, despite her sex, went by the name of George Sand. Oh, and the German poet Heinrich Heine was there, and from the music world, three of the leading opera composers of the day: the foreign born Giacomo Meyerbeer and Luigi Cherubini, and popular native son, Jacques Halevy. And who could miss the dashing, lion-maned Hungarian pianist Franz Liszt also seated in the theater? They were all there to witness the Parisian debut of the most charismatic performer of his time, the Italian violinist Nicolo Paganini. It was whispered that the fourth string on his violin was made from the intestine of his mistress, murdered at his own hand, and that he had spent 20 years in prison for the crime, with his violin his sole companion. Others hinted he had actually made a pact with Satan, trading his immortal soul for superhuman virtuosity! He looked like death warmed over, thin and gaunt, but played like a man possessed. Beat THAT, Ozzy Osbourne! Music Played in Today's Program Niccolo Paganini (1782 - 1840) Caprice No. 10 James Ehnes, violin Telarc 80398

Giacomo Meyerbeer - Festmarsch Hannover Radio Philharmonic Orchestra Michail Jurowski, conductor More info about today's track: CPO 999168-2 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording Amazon

Arizona Philharmonic (AZPhil), Margot Fonteyn Academy of Ballet (MFAB), Voci Sorella of Yavapai Youth Choirs, Una Voce Women's Choir, and British conductor Alexander Walker team up to present an unforgettable afternoon of festive holiday dance and music—A Nutcracker Christmas Celebration. In this premier Prescott Holiday event, international alumni of the Academy dance to Tchaikovsky's iconic Nutcracker Suite and Frederick Ashton's Les Patineurs, a winter ballet set to the music of Giacomo Meyerbeer, performed by Arizona Philharmonic, Prescott's professional orchestra. Act II of The Nutcracker will be performed, and the entire show runs two hours including intermission. The outstanding youth Voci... For the written story, read here >> https://www.signalsaz.com/articles/a-nutcracker-christmas-celebration/Follow the CAST11 Podcast Network on Facebook at: https://Facebook.com/CAST11AZFollow Cast11 Instagram at: https://www.instagram.com/cast11_podcast_network

Giacomo Meyerbeer, einer der erfolgreichsten Opernkomponisten seiner Zeit, hatte Richard Wagners Genie früh erkannt, ihn protegiert und unterstützt. Wagner dankte seinem Ziehvater mit einer fürchterlichen Schmähschrift. Meyerbeer verschwand in der Nazi-Zeit von allen Spielplänen. Der Berliner Musikwissenschaftler Jascha Nemtsov hat die Verbindungen beider Komponisten untersucht und kommt zu dem Schluss: Spielt Meyerbeers Werke auf dem Grünen Hügel! Die Grand Opéra gehört ins Festspielhaus von Bayreuth!

Wilhelm Richard Wagner ( VAHG-nər; German: [ˈʁɪçaʁt ˈvaːɡnɐ] (listen); 22 May 1813 – 13 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama. He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen (The Ring of the Nibelung). Source: https://en.wikipedia.org/wiki/Richard_Wagner License: Creative Commons Attribution-ShareAlike License 3.0;

16th-20th Centuries In this episode we hear works by Jacobus Gallus, Francesco Turini, Michel-Richard de Lalande, Georg Benda, Giacomo Meyerbeer, Joaquín Nin, and Evángelos Papathanassíou. 145 Minutes – Weeks of 2022 June 06 and June 13

Richard Wagner ist pleite. Nicht das erste Mal im Leben und sicher nicht das letzte Mal, aber so, dass er auf die ldee kommt, sich als Sklave verkaufen zu wollen. Es will ihn nur keiner. Vielleicht auch besser für Wagner, der später doch noch zu Ruhm und Geld kommt.

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 28/3/2022, vigésimosegunda de la séptima temporada y cuarta de las dedicadas a la hija menor de la familia García, Pauline Viardot. Entramos en el cuarto capítulo de la vida de la benjamina, Pauline Viardot García (París, 1821-1910), la más dotada y polifacética de la familia y una pionera de la idea cosmopolita de Europa. Tras tratar el último día su peculiar vida familiar, con el triángulo amoroso con Louis Viardot e Ivan Turgénev, hoy hablaremos de su importancia en el desarrollo de la música francesa desde finales de los años 40 del siglo XIX hasta el comienzo del siglo XX. Hasta ese periodo, el repertorio de Viardot era fundamentalmente español e italiano, pero en los últimos 40 empieza a encarnar los papeles concebidos por Giacomo Meyerbeer. Pauline no solo es la cantante más importante de su época, que también, sino que tiene gran influencia en los compositores. Todos quieren que Pauline interprete sus papeles, pero también que les ayude a definirlos y a desarrollar las puestas en escena. Nuestra moderna fue crucial en las primeras óperas de Charles Gounod, Camile Saint-Saëns, Edouard Lalo o Georges Bizet, también en el triunfo de la idea del exotismo español en la música francesa que llegó a su máxima expresión con la Carmen de Bizet o la Sinfonía española de Lalo. También hablaremos de su trabajo y amistad con el mandamás de la música francesa, Hector Berlioz. Juntos trabajaron en la recuperación de la música de Gluck, Haendel, Marcello o Pergolessi. Pauline enviaba a Berlioz la lista de invitados a las veladas en su casa para que el autor de la Sinfonía Fantástica no se encontrara con sus numerosos enemigos. La relación se rompió cunado nuestra moderna interpretó, a dos voces con el compositor, el Tristán e Isolda de Wagner delante de Berlioz. Terminamos el capítulo de hoy hablando del influjo de Pauline Viardot en las músicas rusas y alemanas. El próximo lunes contaremos el final de la historia.

Io sono l'astratto L'immagine e la clip sono tratte da “Fitzcarraldo” (scritto, diretto e prodotto da Werner Herzog-con Klaus Kinski e Claudia Cardinale- in questo estratto il brano musicale è “O Paradiso” da “L' Africana” di Giacomo Meyerbeer cantata da Enrico Caruso-il film è uscito il 4 marzo 1982 all rights reserved)

L'Africaine (The African Woman) is an 1865 French grand opéra in five acts with music by Giacomo Meyerbeer and a libretto by Eugène Scribe. Meyerbeer and Scribe began working on the opera in 1837, using the title L'Africaine, but around 1852 changed the plot to portray fictitious events in the life of the Portuguese explorer Vasco da Gama and introduced the working title Vasco de Gama, the French version of his name. The copying of the full score was completed the day before Meyerbeer died in 1864.Purchase the music (without talk) at:Meyerbeer: L'Africaine or Vasco de Gama (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Er isst gerne, gut und viel, er ist über alle Maßen scharfsinnig und witzig, ein Gigant am Opernhimmel und ein Schandmaul im Leben: Gioacchino Rossini, das "enfant terrible" unter den italienischen Komponisten. Seine skurrilen Werktitel, wie "asthmatische Etüde" oder "Fehlgeburt einer Polka-Mazurka" werden berühmt, seine Streitereien mit Giacomo Meyerbeer gehen in die Musikgeschichte ein und beim Komponieren seiner Opern hat Gioacchino hat eine ganz besonders unangenehme Eigenschaft...

This episode introduces Giacomo Meyerbeer, our featured opera composer for the month of February 2022.Meyerbeer is almost a completely unknown opera composer in today's world, although he was the most internationally famous opera composer of his day.  However, thanks to the politically driven "cancel culture" of his day - Wagner and the Nazi regime, his extraordinary and beautiful operas are rarely performed today, and yet, they are some of the greatest operas that exist.Join us as we resurrect 4 of his most popular operas this month.In this broadcast, we also perform for you, "The Skaters" by Meyerbeer.Purchase the music (without talk) at:Meyerbeer: The Skaters (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Gioachino Antonio Rossini was Born 29 February 1792, Died 13 November 1868, was an Italian composer who gained fame for his 39 operas. He also wrote many songs, some chamber music , piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. Born in Pesaro to parents who were both musicians. His father was a trumpeter and his mother a singer. Rossini began to compose by the age of 12 and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823 he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere. His productivity necessitated an almost formulaic approach for some components , such as overtures and a certain amount of self-borrowing. During this period he produced his most popular works, including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola. His works of this period brought to a peak the opera buffa tradition he inherited from masters such as Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Otello, Tancredi and Semiramide. All of these attracted admiration for their innovation in melody, harmonic and instrumental colour, and dramatic form. In 1824 he was contracted by the Opéra in Paris, for which he produced an opera to celebrate the coronation of Charles X, Il viaggio a Reims , later cannibalised for his first opera in French, Le comte Ory. Revisions of two of his Italian operas, Le siège de Corinthe and Moïse, and in 1829 his last opera, Guillaume Tell. Rossini's withdrawal from opera for the last 40 years of his life has never been fully explained. Contributary factors may have been ill-health, the wealth his success had brought him, and the rise of spectacular grand opera under composers such as Giacomo Meyerbeer. . In the early 1830s to 1855, when he left Paris and was based in Bologna, Rossini wrote relatively little. On his return to Paris in 1855 he became renowned for his musical salons on Saturdays. Regularly attended by musicians and the artistic and fashionable circles of Paris. for which he wrote the entertaining pieces Péchés de vieillesse. Guests included Franz Liszt, Anton Rubinstein, Giuseppe Verdi, Meyerbeer and Joseph Joachim. Rossini's last major composition was his Petite messe solennelle (1863). He died in Paris in 1868.

Die Sopranistin Andrea Chudak erzählt von ihrer Begeisterung für Giacomo Meyerbeer, warum sie ein festes Liedduo mit einer Gitarristin bildet und warum sie am ersten Weinachtstag im Berliner Dom auftritt. Und sie schwärmt von ihrer Ave-Maria-Sammlung, die längst viel mehr Stücke umfasst als die 68 Werke, die sie auf fünf CDs aufgenommen hat.

Er en la segunda ura Artg musical restain nus tar chant religius. Nus tadlain psalms en diversas versiuns, tranter auter er en chanzuns rumantschas dal 18avel tschientaner. L'Ensemble Lamaraviglia ha edì quest onn in disc cumpact cun psalms e motettas da la Svizra. Quel sa basa sin ils psalteris genevrins da 16avel tschientaner. L' ensemble vocal chanta er per rumantsch psalms ch'èn vegnids chantads gia l'entschatta dal 18avel tschientaner a Zuoz ed en autras plaivs engiadinaisas. Vinavant udin nus dentant er fitg bellas versiuns da psalms arranschads da cumponists sco Franz Schubert, Giacomo Meyerbeer u er Gion Antoni Derungs.

Wilhelm Richard Wagner was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas. Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk, by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama. He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen. His compositions, particularly those of his later period, are notable for their complex textures, rich harmonies and orchestration, and the elaborate use of leitmotifs—musical phrases associated with individual characters, places, ideas, or plot elements

A century before crowds of extras and gigantic sets first filled the silver screen of Cecil B. DeMille’s Hollywood extravaganzas, the Paris Opera brought similar resources to the stage for their historical operas—offering shipwrecks, explosions, massacres, and other crowd-pleasing spectacles. For example, on today’s date in 1849, the premiere of Giacomo Meyerbeer’s opera “The Prophet,” included a ballet sequence that made audiences gasp in surprise when the dancers—supposed skating on a frozen lake—glided across the stage on roller skates! Roller skates had been invented in Paris in 1790 but were considered a useless curiosity—after Meyerbeer’s opera, however, there was a booming demand for what was marketed as "Prophet Skates." Meyerbeer’s opera also included an on-stage sunrise, employing , for the first time at the Paris Opera, state-of-the art electric lights. And just to prove that there is nothing new under the sun—electric or otherwise–in 1984, Andrew Lloyd Webber’s “Starlight express,” a rock musical about roller-ball competitors, had singers racing around the stage on roller-skates. The musical proved a big hit in London, New York and Las Vegas, and, reminiscent of Meyerbeer’s frozen pond ballet, there has even been a version of “Starlight Express—On Ice.”

Giacomo Meyerbeer, de son vrai nom Jakob Liebmann Meyer Beer, compositeur allemand

durée : 00:25:30 - La création de Robert le Diable de Meyerbeer à Paris en 1831 - par : Anne-Charlotte Rémond - Il est souvent difficile d'imaginer la destinée d'une oeuvre à l'accueil qui lui est fait pour sa création. Prenez par exemple le premier grand opéra français de Meyerbeer : Robert le Diable est méconnu et pourtant, l'oeuvre a reçu un accueil triomphal lors de sa création en novembre 1831 à Paris. - réalisé par : Philippe Petit

On today's date in 1865, the hottest ticket in Paris was for the premiere of Giacomo Meyerbeer's long-awaited grand opera "L'Africaine," or "The African Maid," at the Paris Opera. And when I say "long-awaited," I mean long-awaited. Meyerbeer had begun work on "L'Africaine" some 25 years earlier. It had become something of a standing joke in the French press to rib Meyerbeer about the "imminent" completion of this long-standing project. There was no shortage of reasons for the delay. Meyerbeer was a slow-worker, a perfectionist; he was sidelined by ill-health, he was waiting for better singers, more sympathetic management at the Opera, etc. etc. etc. Many opera fans back then must have all but given up hope that Meyerbeer would ever finish "L'Africaine" when he finally did just that, and the work was slotted for production at the Paris Opera. At that point, as luck would have it, Meyerbeer died, and his widow entrusted another composer to supervise the rehearsals for the premiere on today's date in 1865. Meyerbeer's grand operas were the 19th century equivalent of the movies of Cecil B. DeMille. Both Meyerbeer and DeMille favored sweeping historical costume epics, lots of extras, and a tragic love story. "L'Africaine" was no exception: the hero is the explorer Vasco da Gama, and one of the opera's more spectacular scenic effects involved a Portuguese ship running aground on an exotic reef and being taken over by a swarm of natives.

Giacomo Meyerbeer war einer der erfolgreichsten Opernkomponisten des 19. Jahrhunderts und gilt als Meister der französischen Grand Opéra. Die Uraufführung seiner "verschlimmbesserten" letzten Oper "L'Africaine" erlebte er nicht mehr.

In Paris gelang Giacomo Meyerbeer der große Durchbruch - er schrieb die besten Grand Opéras seiner Zeit. In der Deutschen Oper präsentiert der italienische Dirigent Enrique Mazzola sein "Best of Meyerbeer". Gestern war die Opéra comique "Dinorah ou Le Pardon de Ploërmel" zu hören. Unser Kritiker Kai Luehrs-Kaiser war dabei.

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Als letzte Premiere dieser Spielzeit bringt die Dresdner Semperoper Meyerbeers „Hugenotten“ in einer Inszenierung von Peter Konwitschny auf die Bühne. Dramaturg Kai Weßler spricht mit André Sittner über diese Produktion.

Richard Wagner ist pleite. Nicht das erste Mal im Leben und sicher nicht das letzte Mal, aber so, dass er auf die ldee kommt, sich als Sklave verkaufen zu wollen. Es will ich nur keiner.

Concertos pour flûte à bec de Vivaldi ; Concertos pour piano no 4 et 5 de Camille Saint-Saëns ; Le Prophète, opéra de Giacomo Meyerbeer ; Ballet Roméo et Juliette de Prokofiev ; Quatuor à cordes de Schubert.

Concertos pour flûte à bec de Vivaldi ; Concertos pour piano no 4 et 5 de Camille Saint-Saëns ; Le Prophète, opéra de Giacomo Meyerbeer ; Ballet Roméo et Juliette de Prokofiev ; Quatuor à cordes de Schubert.

Triebe, Hiebe und Liebe: An der Deutschen Oper Berlin zeigt Olivier Py den Fanatismus-Reißer von Giacomo Meyerbeer als Gleichnis über Erotik und Macht. Der Aufstand gipfelt in einer Orgie - aufregend oder fad? Eine Kritik von Peter Jungblut.

Arien und Duette aus Opern von Charles Gounod, Jules Massenet, Ambroise Thomas, Georges Bizet, Edouard Lalo, Jacques Offenbach, Giacomo Meyerbeer und Hector Berlioz | Jonas Kaufmann (Tenor) | Sonya Yoncheva (Sopran) | Ludovic Tézier (Bariton) | Bayerisches Staatsorchester | Leitung: Bertrand de Billy

5 September birthday of Giacomo Meyerbeer http://bit.ly/2wFRL2g

Oper ist verstaubt? Aber überhaupt nicht - einige technische Innovationen verdanken wir einem Deutschen mit aus Marketing Gründen italienisierten Namen. Giacomo Meyerbeer machte ab 1830 „Opera Great again“. Neuartige Bühnenmaschinen, farbiges Gaslicht, knappere Kostüme für Balletttänzerinnen, die erste Pressekonferenz der Operngeschichte machten Oper spektakulär für alle. Und dann wollten alle nach Paris! Verdi schrieb „Gérusalemme“, Halévy „La Juice“, Donizetti „Roberto Devereux“ und auch ein Deutscher pilgerte nach Paris und wurde von Meyerbeer ausgehalten… Eleonore Marguerre und ihr Opernkater Fidelio leben an einem lauen Sommerabend wie Gott in Frankreich. Du willst auch Oper unter freiem Himmel hören? dann schau bei www.eleonore-marguerre.de nach dem 1. oder 17. September in Dortmund und Köln.

Soeben hat Diana Damrau ihre CD "Grand Opéra" veröffentlicht - mit Opernarien von Giacomo Meyerbeer. Im Interview spricht sie über ihr Verhältnis zu diesem Komonisten sowie über die Freuden und Tücken des Aufnahmestudios.

Giacomo Meyerbeer arijos iš operų.

Giacomo Meyerbeer arijos iš operų.

Arien aus Opern von Wolfgang Amadeus Mozart, Christoph Willibald Gluck, Giacomo Meyerbeer, Jacques Offenbach, Ambroise Thomas, Charles Gounod, Jules Massenet, Emmanuel Chabrier und Reynaldo Hahn | Marianne Crebassa (Mezzosopran) | Mozarteumorchester Salzburg | Leitung: Marc Minkowski

Dans cette émission, nous joignons Jean-Phillipe Proulx de la Société Histoire Canada en discussion avec Joseph Trivers de Bibliothèque et Archives Canada. Ils examinent deux anciens enregistrements canadiens: "Ô paradis" – Un aria de l’opéra l’Africaine par Giacomo Meyerbeer, interprétée par tenor Raoul Jobin, avec le Metropolitan Opera Orchestra; et "Vive la canadienne" par Amédée Tremblay, interprétée par Quatuor Alouette.

On this day in 1572, Queen Margaret of Valois and Henry of Navarre got married in Paris. The interdenominational marriage — Marguerite was Catholic, and Henry was a Huguenot — should have helped bridge the gap between Protestants and Catholics in France. It did not. On today's "A Classical Day in the Life", we explore the St. Bartholomew's Day Massacre and the opera it inspired Giacomo Meyerbeer to write.

On this day in 1829, the German composer Giacomo Meyerbeer signed a contract with the Paris opera house -- marking the beginning of the brief golden age of French Grand Opera. On today's "A Classical Day in the Life," journey along with us as we explore "The Huguenots," "The African Woman," and more!

Französische Opernarien von Hector Berlioz, Giuseppe Verdi, Gioacchino Rossini, Charles Gounod, Giacomo Meyerbeer, Jules Massenet, Ernest Reyer, Alfred Bruneau und Henri Rabaud | Bryan Hymel (Tenor) | PKF - Prague Philharmonia | Leitung: Emmanuel Villaume

Donald Macleod explores the life and work of Giacomo Meyerbeer in conversation with one of the composer's leading advocates, Robert Letellier