Daniel-François-Esprit Auber (1782–1871) was long considered one of the most typically French as well as one of the most successful of the opera composers of the 19th century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opéra-comique La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in Auber’s life was his meeting with the librettist Eugène Scribe (1791–1861), with whom he...

Daniel-François-Esprit Auber (1782–1871) was long considered one of the most typically French as well as one of the most successful of the opera composers of the 19th century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opéra-comique La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in Auber’s life was his meeting with the librettist Eugène Scribe (1791–1861), with whom he...

Daniel-François-Esprit Auber (1782–1871), once one of the most well-known and well-loved names in French 19th-century opera, came later in life than many famous composers to his art, yet had one of the longest and most successful careers. He studied with Cherubini after abandoning an initial attempt to establish a career in commerce, and experienced his first real triumph at the age of 38 with La Bergère Châteleine (1820). His subsequent association with the librettist Eugène Scribe (1791–1861), a collaboration that lasted until Scribe’s death, became one of the most famous and...

Daniel-François-Esprit Auber (1782–1871), once one of the most well-known and well-loved names in French 19th-century opera, came later in life than many famous composers to his art, yet had one of the longest and most successful careers. He studied with Cherubini after abandoning an initial attempt to establish a career in commerce, and experienced his first real triumph at the age of 38 with La Bergère Châteleine (1820). His subsequent association with the librettist Eugène Scribe (1791–1861), a collaboration that lasted until Scribe’s death, became one of the most famous and...

The cantatas of Giacomo Meyerbeer (1791–1864), spanning his middle and late life, were written in response to royal and civic commissions to celebrate dynastic events and to praise the deeds of famous men. Their festive nature is indicated in the titles: festival song, festival greeting, festival hymn, homage.

Like a continuation of the 18th-century tradition of patronage, the more famous Meyerbeer became, the more his services were required by public authorities. Although a burden to him, and a distraction from his dramatic vocation, the composer understood the importance of these...

The fame of Giacomo Meyerbeer is associated preeminently with the operatic stage, but he wrote for the voice extensively in other genres as well, and produced a small body of carefully crafted religious works throughout his life that reveal the depth of his religious convictions, and also his ecumenical openness to all forms of religious devotion.

While studying with the Abbé Vogler in Darmstadt, the young composer had opportunities to show off his skills and serious endeavours. These were crowned by the composition of choral settings for seven religious odes by the influential...

Aloysius Ludwig Minkus (1826–1917), famous for his ballets Don Quixote (1869) and La Bayadère (1877), was born in Bohemia, and grew up in the dance capital Vienna. He hoped to establish a reputation as a violinist and composer, and by 1853 had emigrated to St Petersburg where he became the conductor and solo violinist of the private orchestra of Prince Nikolai Yusupov. In 1861 he was appointed violin soloist and, a year later, conductor of the Moscow Bolshoi Orchestra. He began a happy collaboration with the great French choreographer Arthur Saint-Léon (1821–1870), who was a real friend...

Daniel-François-Esprit Auber (1782–1871), once one of the most well-known and well-loved names in French 19th-century opera, came later in life than many famous composers to his art, yet had one of the longest and most successful careers. He studied with Cherubini after abandoning an initial attempt to establish a career in commerce, and experienced his first real triumph at the age of 38 with La Bergère Châteleine (1820). His subsequent association with the librettist Eugène Scribe (1791–1861), a collaboration that lasted until Scribe’s death, became one of the most famous and...

Daniel-François-Esprit Auber (1782–1871), the most amiable French composer of the 19th century, came to his abilities late in life. After a stalled commercial career, he studied with Cherubini. His first works were not a success, but La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. He then met the librettist Eugène Scribe (1791–1861), with whom he developed a working partnership, one of the most successful in musical history, that lasted until Scribe’s death. After Le Maçon (1825) and La Muette de Portici (1828), Auber’s life was...

Daniel-François-Esprit Auber (1782–1871), the most amiable French composer of the 19th century, came to his abilities late in life. After a stalled commercial career, he studied with Cherubini. His first works were not a success, but La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. He then met the librettist Eugène Scribe (1791–1861), with whom he developed a working partnership, one of the most successful in musical history, that lasted until Scribe’s death. After Le Maçon (1825) and La Muette de Portici (1828), Auber’s life was...