Phonograph Monthly Review, Vol. 6, No. 6 (1932-03)

March 1932, Vol. VI, No. 6 107 a brilliant authority that triumphantly defied all opposition. Few musicians have aroused so much enthusiasm, and few, perhaps have been so harshly judged, yet, whatever his shortcomings, they were certainly more than redeemed by qualities which amply justified the unique position he occupied for so many years as the supreme master of opera. Hans von Biilow once said: “Meyerbeer, after all, was a man of genius. The general disregard of Meyerbeer’s genius is not only an injustice; it is an act of ignorance and ingratitude.” “Robert le Diable” was the work with which Meyerbeer burst upon the world of French opera. Produced in 1831, at the Grand Opera in Paris, it was as great an event in the operatic world as Victor Hugo’s “Hernani” was in that of the drama. The fantastic story, with its weird, super- natural vein, was such a sensational success that it made the fortune of the house, and inaugurated the brilliant reign of Dr. Veron as manager. The production was of the ut- most magnificence. Meyerbeer was regarded as little short of a demi-god: his lightest word was law, and all his directions were carried out to the letter. A man of handsome private fortune, he made enormous sums by his operas, and was probably the. wealthiest of the great com- posers. All his life Meyerbeer was the grand Seigneur. He certainly knew how to spend his enormous emoluments in a noble way, and no sacrifice was too great for him if it served his purpose. More than once he paid great instrumentalists considerable sums so they might play important soli in the opera orchestra. He defrayed the expenses of rich costumes for his prima donnas, always in- sisting upon the best and most costly, and he even engaged supernumeraries in order to make the stage groups more imposing. Nothing had been left undone to make “Rob- ert le Diable” an assured success. Nourrit and other famous artists composed the dis- tinguished cast of singers. The greatest dancers of the age were in the ballet, and the idolized Taglioni led the band of resus- citated Nuns. Inspired by Weber’s “Frei- schutz,” Meyerbeer composed this romantic, legendary opera. “Robert” was the work which introduced the Romantic school into France, and made it palatable to the French taste. Its popularity as well-nigh unbeliev- able. During the first twenty years succeed- ing its production, it was performed 333 times at the Paris Opera. For, after all, the Meyerbeer operas were a product of their time. They belong to the era of Victor Hugo and Dumas—the era of romantic intensity and the statuesque pose. Here we find ro- manticism in its fullest flower. Meyerbeer is himself the Dumas of grand opera. Among other innovations Meyerbeer has given us, in place of the long and cum- brous overture, the short and characteristic prelude. This composer had a singularly sharp eye for whatever was striking and theatrically sensational: indeed, his appre- ciation of dramatic effectiveness has seldom been equaled, and never surpassed. Accord- ingly, in this brief prelude we are thorough- ly prepared for the weird and supernatural scenes of the opera E. H. 371 Roberto il Diavolo, Overture— Orchestra of the Berlin State Opera, direc- tion, Dr. Leo. Blech. The music gives wonderful emphasis to the words, and how superb are certain pages of “Robert” when sung in the grand manner. An admirable example of this quality is found in the world-famed aria, “Robert 0. Tu Che Adoro.” from the third act. It is sung magnificently by by Madame Mat- zenaner. (Victor, 88365: special white seal pressing). In the domain of the weird and terrible Meyerbeer worked with unerring certainty. Immensely effective is the scene from act 3, where Bertram, a demon in human shape, is alone in the cavern of St. Irene, amidst wild and gloomy mountain crags. He awaits Rob- ert, whom he has enticed thither, certain of his ultimate triumph over the young man’s soul. He prepares the materials for incanta- tion, and the fires of Hell gleam for the first time in the music. A great chorus of spirits is heard giving vent to demoniac joy at the prospect of a new victim for their talons. He hears the hellish mirth of the demons and their frenzied dance. A few bars in waltz time, where the viola is conspicuous, domi- nate the final notes of his recitative. Then, from subterranean caverns rises the infernal chorus in B-minor. In this remarkable pass- age we hear the voice of Bertram blending with those of the exultant demons, with won- derful effect. Victor 6176, “Valse Infernale.” Marcel Journet, with opera chorus. (Records of Historical and personal interest). The most famous of Meyerbeer’s ballets is in “Robert le Diable.” The composer’s genius for musical rhythm is one of the most marked elements in his power. This is especially noticeable in his dance music, which is very bold, brilliant and voluptuous; the most spontaneous side of Meyerbeer's creative fancy is found in the vivacity and grace of these stirring measures.