Overview

For a period of close to half a century, French grand opera, as exemplified by the works of Giacomo Meyerbeer and his school, was the preferred form of music for the theatre in most of the civilized world. During the July Monarchy, French grand operas, with their plots drawn from historical events, tended to be received as metaphors for current political themes. Meyerbee's Le Prophete illustrates the complex, contested nature of political meaning during this period. This opera was set in the context of the emerging liberal historiography pioneered by Jules Michelet, and reactions to it illustrate the manner in which audiences and critics constructed 'meanings' with reference to their personal and collective experience and memories, with grand opera occupying a central role at that time. Le Prophete was once one of the most famous of operas, performed over 500 times at the Paris Opera, and given throughout the civilized world, in the days when opera was ever-present in society. The plot has been called absurd, based as it is on the history of the Anabaptists in Munster (1534-35). However, history is far stranger than fiction, and Eugene Scribe's libretto provides a modification of the garish facts in the interests of a highly symbolic scenario based on a tragic Reformation episode, and exploring the implication of the role of religion, power and politics in the fate of humanity. The music is powerful, gripping, and torrential in its flow. Each act is beautifully structured, each set piece crafted to perfection, dominated by an overwhelming sound world of instrumental colours and disturbing harmony. The ballet plays a vital function as a countersign to the human deeds of darkness and despair that characterize the action. The Coronation Scene is fascinating, and overwhelming in its impact, one of opera's greatest moments.This study examines the origins and creation of the opera, its dramaturgy and musical style, the history of its astonishing reception around the world until the 1930s. One of the special features of this book is the collection of iconography associated with the work and its interpretation by many of the greatest singers of the Golden Age of opera.

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9781527511323

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Reviews

Robert Ignatius Letellier has delved into Meyerbeer's opera Le Prophete in a deep and interesting way. This book focuses on 'parables of politics, faith and transcendence,' and is important to anyone with interest in French grand opera and religion. For those who are able to read and understand the music dramaturgy and revised score, the original music can be found on pages 71-78. In addition, the lovely presentation totaling 278 photographs, paintings, woodcuts, and cartoons are on heavy glossy paper. For example, Fig. 18 shows 'Caricature of Meyerbeer bringing the Prophet to Berlin like a latter-day Messiah,' Fig. 64 shows the Cathedral scene (stage design, Philippe Chaperon, Paris 1875), as well as photographs of Eugene Scribe and prints from Jan van Leeden and the Anabaptist leaders. Modern productions after WWII could only provide stages fitted for Le Prophete. Revivals were first seen in London in 1959 and in the United States in 1977 and 1979. Le Prophete was performed in Germany in 2000 and in Munster in 2004 with several other performances in 2007 and 2008. Letellier has collected concise and detailed information about Meyerbeer and Le Prophete. This makes me eager to learn more about Meyerbeer's other operas. Dale Hesdorffer Letellier has written an enthusiastic, thoroughly researched and readable account of Meyerbeer's Le Prophete. [...] Meyerbeer's work provides insights into what was the second phase of the Reformation. Letellier explores its rich symbolism. Theological, political, power and religion and social such as mother and son, and womanhood. In addition, its musical form and style are examined. However, this opera has a visual dimension and this enables Letellier to identify its iconography. The premiere and its reception are invedtigated, as well as important subsequent and modern productions. The book has beautiful contemporary illustrations that enliven our understanding of the opera and its period. Letellier demonstrates his scholarship by providing a comprehensive range of indices and an exhaustive bibliography. Robert Gibson

Robert Ignatius Letellier has delved into Meyerbeer's opera Le Prophete in a deep and interesting way. This book focuses on `parables of politics, faith and transcendence,' and is important to anyone with interest in French grand opera and religion. For those who are able to read and understand the music dramaturgy and revised score, the original music can be found on pages 71-78. In addition, the lovely presentation totaling 278 photographs, paintings, woodcuts, and cartoons are on heavy glossy paper. For example, Fig. 18 shows `Caricature of Meyerbeer bringing the Prophet to Berlin like a latter-day Messiah,' Fig. 64 shows the Cathedral scene (stage design, Philippe Chaperon, Paris 1875), as well as photographs of Eugene Scribe and prints from Jan van Leeden and the Anabaptist leaders. Modern productions after WWII could only provide stages fitted for Le Prophete. Revivals were first seen in London in 1959 and in the United States in 1977 and 1979. Le Prophete was performed in Germany in 2000 and in Munster in 2004 with several other performances in 2007 and 2008. Letellier has collected concise and detailed information about Meyerbeer and Le Prophete. This makes me eager to learn more about Meyerbeer's other operas. Dale Hesdorffer Letellier has written an enthusiastic, thoroughly researched and readable account of Meyerbeer's Le Prophete. [...] Meyerbeer's work provides insights into what was the second phase of the Reformation. Letellier explores its rich symbolism. Theological, political, power and religion and social such as mother and son, and womanhood. In addition, its musical form and style are examined. However, this opera has a visual dimension and this enables Letellier to identify its iconography. The premiere and its reception are invedtigated, as well as important subsequent and modern productions. The book has beautiful contemporary illustrations that enliven our understanding of the opera and its period. Letellier demonstrates his scholarship by providing a comprehensive range of indices and an exhaustive bibliography. Robert Gibson

Robert Ignatius Letellier has delved into Meyerbeer's opera Le Prophete in a deep and interesting way. This book focuses on `parables of politics, faith and transcendence,' and is important to anyone with interest in French grand opera and religion. For those who are able to read and understand the music dramaturgy and revised score, the original music can be found on pages 71-78. In addition, the lovely presentation totaling 278 photographs, paintings, woodcuts, and cartoons are on heavy glossy paper. For example, Fig. 18 shows `Caricature of Meyerbeer bringing the Prophet to Berlin like a latter-day Messiah,' Fig. 64 shows the Cathedral scene (stage design, Philippe Chaperon, Paris 1875), as well as photographs of Eugene Scribe and prints from Jan van Leeden and the Anabaptist leaders. Modern productions after WWII could only provide stages fitted for Le Prophete. Revivals were first seen in London in 1959 and in the United States in 1977 and 1979. Le Prophete was performed in Germany in 2000 and in Munster in 2004 with several other performances in 2007 and 2008. Letellier has collected concise and detailed information about Meyerbeer and Le Prophete. This makes me eager to learn more about Meyerbeer's other operas. Dale Hesdorffer

Author Information

Robert Ignatius Letellier has specialized in the music and literature of the Romantic Period. He has studied the work of Giacomo Meyerbeer, having published a four-volume English edition of his diaries, a collection of critical and biographical studies, a guide to research, and two readings of his operas, as well as compiling and introducing editions of the complete libretti and non-operatic texts, and a selection of manuscripts facsimiles. He has also written on the ballets of Ludwig Minkus, compiled a series of scores from the Romantic Ballet, a sourcebook on the French opera-comique, and a study of Daniel-Francois-Esprit Auber, and edited anthologies of Auber's overtures, ballet music, and a series of his operatic vocal scores.

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