"Meyerbeer" Quotes from Famous Books
 ... appear unusually tortuous or exacting, but he insisted upon violent contrasts from his singers as well as from his orchestra, and the great length of his operas, a point in which he anticipated Meyerbeer and Wagner, probably reduced to exhaustion the artists who were trained on Gluck and Mozart. 'La Vestale' was followed in 1809 by 'Fernand Cortez,' and in 1819 by 'Olympie,' both of which were extremely successful, the latter in a revised form which was produced at Berlin in 1821. Spontini's ...
— The Opera - A Sketch of the Development of Opera. With full Descriptions - of all Works in the Modern Repertory • R.A. Streatfeild
... supposed that Alfred was somewhere near Malvern: Carlyle I did not go to see, for I really have nothing to tell him, and I have got tired of hearing him growl: though I do not cease to admire him as much as ever. I also went once to the pit of the Covent Garden Italian Opera, to hear Meyerbeer's Huguenots, of which I had only heard bits on the Pianoforte. But the first Act was so noisy, and ugly, that I came away, unable to wait for the better part, that, I am told, follows. Meyerbeer is a man of Genius: and works up dramatic Music: but he has scarce any ...
— Letters of Edward FitzGerald - in two volumes, Vol. 1 • Edward FitzGerald
... concerning which he wrote such a glowing and enthusiastic account. In 1829 he came to Paris to reside, and immediately became an active member of a small but extremely brilliant art circle, among the members of which were to be found such celebrities as Liszt, Berlioz, Heine, Balzac, Ernst, and Meyerbeer. ...
— The Masters and their Music - A series of illustrative programs with biographical, - esthetical, and critical annotations • W. S. B. Mathews
... the one composer, indeed, who can never be played with one finger! But poor unimportant forgotten Max Reger also wrote in the most complicated forms; the great Gluck in the simplest. Gluck, indeed, has even been considered weak in counterpoint and fugue. Meyerbeer, it is said, was also weak in counterpoint and fugue. Is he therefor to be regarded as the peer of Gluck? Is Mozart's G minor Symphony more important (because it is more complicated) than the same ...
— The Merry-Go-Round • Carl Van Vechten
... to Italy, where, during the next nine years, he remained, singing at various theatres and composing a number of operas. During this time he married Mdlle Luisa Roser, a Hungarian singer whom he had met at Bergamo. Fetis says that the public indignation roused by an attempt at "improving" Meyerbeer's opera Il Crociato by interpolated music of his own compelled Balfe to throw up his engagement at the theatre La Fenice in Venice. By this time he had produced his first complete opera, I Rivali di se ...
— Encyclopaedia Britannica, 11th Edition, Volume 3, Part 1, Slice 2 - "Baconthorpe" to "Bankruptcy" • Various
... this while the chorister is gone out during sermon to refresh himself with a mint-julep, hastening back in time to sing the last hymn. How much like heaven it will be when, at the close of a solemn service, we are favored with snatches from Verdi's "Trovatore," Meyerbeer's "Huguenots" and Bellini's "Sonnambula," from such ...
— Around The Tea-Table • T. De Witt Talmage
... years' sojourn in Paris, just at the opening of his career as an opera composer (1839-1842), he learned many things regarding operatic scenery, machinery, processions, and details, which he subsequently turned to good account. Even Meyerbeer, the ruler of the musical world in Paris at that time, was not without influence on him, though he had cause to disapprove of him because of his submission to the demands of the fashionable taste of the day, which contrasted so strongly with Wagner's own courageous defiance of everything ...
— Beacon Lights of History, Volume XIV • John Lord
... Chopin's genius which would make it palatable to the Parisians. But this did not prove to be the case. In the remarkable group of musicians, poets, and artists who were assembled at that time in Paris, and who mutually inspired one another—a group which included Liszt, Meyerbeer, Hiller, Mendelssohn, Berlioz, Heine, George Sand, the Countess D'Agoult, Delacroix, etc.—there were no doubt not a few who knew what a rare genius their friend Chopin was. George Sand wrote in her autobiography: "He has not been understood hitherto, and to the present day he is underestimated. ...
— Chopin and Other Musical Essays • Henry T. Finck |
