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Giacomo Meyerbeer
Person · male · Kingdom of Prussia · Tasdorf · born 1791 · died 1864 · recording since 1984
German-French composer
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Also known as Giacomo Mayerbeer · 贾科莫·梅耶贝尔
Timeline
48 events▣ Album 31✦ Award 14◦ Birth 1† Death 1★ Debut release 1
1790s
1830s
1840s
1850s
1860s
1980s
· Debut release
Debut release: Pomp and Circumstance: Magnificent Marches
First documented Album in the MusicBrainz discography.
source: musicbrainz
1990s
· Album
Album: Il Crociato in Egitto (Royal Philharmonic Orchestra & Geoffrey Mitchell Choir feat. conductor: David Parry)
Album
source: musicbrainz
· Album
Album: BBC Music, Volume 2, Number 8: Brahms: Liebeslieder Waltzes and Neue Liebeslieder / Spohr: Three Psalms, op. 85 / Meyerbeer: Psalm 91
Album
source: musicbrainz
· Album
Album: Robert le Diable (Chœur et Orchestre National de l'Opera de Paris feat. conductor: Thomas Fulton)
Album
source: musicbrainz
2000s
· Album
Album: Swan Lake (excerpts) / Giselle / Les Patineurs (Suite) (Philadelphia Orchestra feat. conductor: Eugene Ormandy)
Album
source: musicbrainz
· Album
Album: Les Huguenots - deutsch (Chor der Wiener Staatsoper & Großes Wiener Rundfunkorchester, feat. conductor: Robert Heger, singers: Bak, Terkal, Berry, Cunitz)
Album
source: musicbrainz
2010s
2020s
· Album
Album: Giacomo Meyerbeer: Gli Amori di Teolinda (Live at Opera, Lausanne)
Album
source: musicbrainz
Biography
English biography7,217 words · 16 sectionssource: wikipedia-en · licence CC BY-SA 4.0 · revision 1373925749
Biography
Giacomo Meyerbeer (born Jakob Liebmann Meyer Beer; 5 September 1791 – 2 May 1864) was a German opera composer, linking Mozart and Wagner. With his 1831 opera Robert le diable and its successors, he gave the genre of grand opera "decisive character". Meyerbeer's grand opera style was achieved by his merging of German orchestra style with Italian vocal tradition. These were employed in the context of sensational and melodramatic libretti created by Eugène Scribe and were enhanced by the up-to-date theatre technology of the Paris Opéra. They set a standard that helped to maintain Paris as the opera capital of the nineteenth century.
Born to a wealthy Jewish family, Meyerbeer began his musical career as a pianist but soon decided to devote himself to opera, spending several years in Italy studying and composing. His 1824 opera Il crociato in Egitto was the first to bring him a Europe-wide reputation, but it was Robert le diable (1831) which raised his status to great celebrity. His public career, lasting from then until his death, during which he remained a dominating figure in the world of opera, was summarized by his contemporary Hector Berlioz, who claimed that he 'has not only the luck to be talented, but the talent to be lucky.' He was at his peak with his operas Les Huguenots (1836) and Le prophète (1849); his last opera, L'Africaine, was performed posthumously. His operas made him the most frequently performed composer at the world's leading opera houses in the nineteenth century.
At the same time as his successes in Paris, Meyerbeer, as a Prussian Court Kapellmeister (Director of Music) from 1832, and from 1843 as Prussian General Music Director, was also influential in opera in Berlin and throughout Germany. He was an early supporter of Richard Wagner, enabling the first production of the latter's opera Rienzi. He was commissioned to write the patriotic opera Ein Feldlager in Schlesien to celebrate the reopening of the Berlin Royal Opera House in 1844, and he wrote music for certain Prussian state occasions.
Apart from around 50 songs, Meyerbeer wrote little except for the stage. The critical assaults of Wagner and his supporters, especially after Meyerbeer's death, led to a decline in the popularity of his works; his operas were suppressed by the Nazi regime in Germany, and were neglected by opera houses through most of the twentieth century. In the 21st century, however, the composer's major French grand operas have begun to reappear in the repertory of numerous European opera houses.
Early years
Meyerbeer's birth name was Jacob Liebmann Beer; he was born in Tasdorf (now a part of Rüdersdorf), near Berlin, then the capital of Prussia, to a Jewish family. His father was the wealthy financier Judah Herz Beer and his mother, Amalia (Malka) Wulff, to whom he was particularly devoted, also came from the moneyed elite. Their other children included the astronomer Wilhelm Beer and the poet Michael Beer. He was to adopt the surname Meyerbeer on the death of his grandfather Liepmann Meyer Wulff (1812) and Italianize his first name to Giacomo during his period of study in Italy, around 1817.
Judah Beer was a leader of the Berlin Jewish community and maintained a private synagogue in his house which leaned towards reformist views. Jacob Beer wrote an early cantata for performance at this synagogue. Both Judah Herz Beer and his wife were close to the Prussian court; when Amalia was awarded in 1816 the Order of Louise, she was given, by Royal dispensation, not the traditional Cross but a portrait bust of the Queen. The Beer children were provided with a fine education; their tutors included two of the leaders of the enlightened Jewish intelligentsia, the author Aaron Halle-Wolfssohn and Edmund Kley, (later a reform movement rabbi in Hamburg) to whom they remained attached into their maturity. The brothers Alexander von Humboldt, the renowned naturalist, geographer and explorer, and the philosopher, linguist and diplomat Wilhelm von Humboldt were close friends of the family circle.
Beer's first keyboard instructor was Franz Lauska, a pupil of Johann Georg Albrechtsberger and a favoured teacher at the Berlin court. Beer also became one of Muzio Clementi's pupils while Clementi was in Berlin. The boy made his public debut in 1801 playing Mozart's D minor Piano Concerto in Berlin. The Allgemeine musikalische Zeitung reported: 'The amazing keyboard playing of young Bär (a Jewish lad of 9), who carried off the difficult passages and other solo parts with aplomb, and has fine powers of rendition even more rarely found in one of his age, made the concert even more interesting'.
Beer, as he still named himself, studied with Antonio Salieri and the German master and friend of Goethe, Carl Friedrich Zelter. Louis Spohr organised a concert for Beer at Berlin in 1804 and continued his acquaintance with the lad later in Vienna and Rome. A portrait of Jacob commissioned by the family at this time shows him "confidently facing the viewer, his hair romantically dishevelled... his left hand rests on the keyboard, and his right hand grasps a musical manuscript... plac[ing] its subject in the tradition of the young Mozart". Beer's first stage work, the ballet Der Fischer und das Milchmädchen (The Fisherman and the Milkmaid) was produced in March 1810 at the Court Opera in Berlin. His formal training with the Abbé Vogler at Darmstadt between 1810 and 1812 was, however, of crucial importance, and at around this time he begins to sign himself 'Meyer Beer'. Here, with his fellow students (among whom was Carl Maria von Weber), he learned not only the craft of composition but also the business of music (organising concerts and dealing with publishers). Forming a close friendship with Weber and other pupils, Meyerbeer established the Harmonischer Verein (Musical Union), whose members undertook to support each other with favourable press criticism and networking. On 12 February 1813 Beer received the first of the string of honours he was to accumulate throughout his life when he was appointed 'Court Composer' by Grand Duke Ludwig of Hesse-Darmstadt. He was also in close contact with Ludwig van Beethoven as he played timpani at the premiere of his Seventh Symphony in December 1813. Beethoven complained that Meyerbeer was "always behind the beat". But nonetheless, Beethoven saw musical potential in the young Beer.
Throughout his early career, although determined to become a musician, Beer found it difficult to decide between playing and composition. Certainly, other professionals in the decade 1810–1820, including Moscheles, considered him amongst the greatest virtuosi of his period. He wrote during this period numerous piano pieces, including a concerto and set of variations for piano and orchestra, but these have been lost. To this period also belongs a Clarinet Quintet written for the virtuoso Heinrich Baermann (1784–1847) who remained a close friend of the composer.
In Italy
Despite performances of his oratorio Gott und die Natur (God and Nature) (Berlin, 1811) and his early operas Jephtas Gelübde (Jephtha's Vow) (Munich, 1812) and Wirth und Gast (Landlord and Guest) (Stuttgart, 1813) in Germany, Meyerbeer had set his sights by 1814 on basing an operatic career in Paris. In the same year, his opera Die beiden Kalifen (The Two Caliphs), a version of Wirth und Gast, was a disastrous failure in Vienna. Realizing that a full understanding of Italian opera was essential for his musical development, he went to study in Italy, enabled by the financial support of his family. He arrived in Italy at the beginning of 1816, after visits to Paris and London, where he heard Cramer play. In Paris, he wrote to a friend, "I go from museum to museum, library to library, theatre to theatre, with the restlessness of the Wandering Jew."
During his years in Italy Meyerbeer became acquainted with, and impressed by, the works of his contemporary Gioachino Rossini, who by 1816, at the age of 24, was already director of both major opera houses in Naples and in the same year premiered his operas The Barber of Seville and Otello. Meyerbeer wrote a series of Italian operas on Rossinian models, including Romilda e Costanza (Padua, 1817), Semiramide riconosciuta (Turin, 1819), Emma di Resburgo (Venice, 1819), Margherita d'Anjou (Milan, 1820) and L'esule di Granata (Milan, 1821). All but the last two of these had libretti by Gaetano Rossi, whom Meyerbeer continued to support until the latter's death in 1855, although not commissioning any further libretti from him after Il crociato in Egitto (1824). During a visit to Sicily in 1816, Meyerbeer noted down a number of folksongs, and these in fact constitute the earliest collection of folk music of the region. In a birthday greeting from Rossi's wife in 1817 occurs the earliest use discovered of Meyerbeer's adopted forename 'Giacomo'.
Recognition
The name Giacomo Meyerbeer first became known internationally with his opera Il crociato in Egitto—premiered in Venice in 1824 and produced in London and Paris in 1825; incidentally, it was the last opera ever written to feature a castrato, and the last to require keyboard accompaniment for recitatives. This 'breakthrough' in Paris was exactly what Meyerbeer had been aiming for over the past ten years; he had been carefully preparing for it, developing contacts, and fully reaped his reward.
In 1826, shortly after the death of his father, Meyerbeer married his cousin, Minna Mosson (1804–1886). The marriage which may have been 'dynastic' in its origins turned out to be stable and devoted; the couple were to have five children, of whom the three youngest (all daughters) survived to adulthood. In the same year, following the death of Carl Maria von Weber, Weber's widow asked Meyerbeer to complete her husband's unfinished comic opera Die drei Pintos. This was to cause him much trouble over future years, as he found the material insufficient to work on. Eventually, in 1852 he settled the matter with Weber's heirs by handing them Weber's drafts and cash compensation. (The opera was later completed by Gustav Mahler).
With his next opera Meyerbeer became virtually a superstar. Robert le diable (with libretto by Eugène Scribe and Germain Delavigne), produced in Paris in 1831, was one of the earliest grand operas. The libretto, originally planned in 1827 as a three-act opéra comique for the Opéra-Comique theatre, was refashioned after 1829 in a five-act form to meet the requirements of the Paris Opéra. Its revised characterisation as a 'grand opera
Grand OperaSpotify (search)YouTube Music (search)Tracklist · 11 tracks1Le prophète: "Mon coeur s'élance et palpite"4:032Robert le Diable: "Robert, toi que j'aime"5:523Alimelek: "Nur in der Dämm'rung Stille"6:184L'Étoile du Nord: "Ah, mon Dieu !... C'est bien l'air que chaque matin"6:585L'africaine: "Là-bas, sous l'arbre noir... Fleurs nouvelles"5:346Il crociato in Egitto: "D'una madre disperata... Con qual gioia"9:217Le pardon de Ploërmel: "Comme cette nuit est lente à se dissiper !... Ombre légère"8:208Ein Feldlager in Schlesien: "Oh Schwester, find' ich dich!... Lebe wohl, geliebte Schwester"6:539Emma di Resburgo: "Sulla rupe triste, sola... Ah questo bacio"6:3910Les Huguenots: "Ô beau pays de la Touraine"12:5511L'africaine: "Anna, qu'entends-je ?... Adieu, mon doux rivage"8:34' placed it in succession to Auber's La muette de Portici (1828) and Rossini's Guillaume Tell (1829) in this new genre. The composer undertook further work on the opera in early 1831 adding ballet episodes, including the "Ballet of Nuns", which was to prove one of the opera's great sensations, becoming an early example of the ballet blanc genre. He also rewrote the two major male roles of Bertrand and Robert to suit the talents of Nicolas Levasseur and Adolphe Nourrit, respectively. At the invitation of Nourrit, Cornélie Falcon made her debut at the age of 18 at the Opéra in the role of Alice on 20 July 1832, and she made a vivid impression on the public, which included on that night Auber, Berlioz, Halévy, Maria Malibran, Giulia Grisi, Honoré Daumier, Alexandre Dumas and Victor Hugo. On hearing her in the role, Meyerbeer himself declared his opera at last 'complete'.
The success of the opera led to Meyerbeer himself becoming a celebrity. In January 1832 he was awarded membership of the Légion d'honneur. This success – coupled with Meyerbeer's known family wealth – inevitably also precipitated envy amongst his peers. Berlioz – who had commented that "Meyerbeer not only had the luck to be talented, he had the talent to be lucky" – wrote "I can't forget that Meyerbeer was only able to persuade [the Opéra] to put on Robert le diable ... by paying the administration sixty thousand francs of his own money"; and Frédéric Chopin lamented "Meyerbeer had to work for three years and pay his own expenses for his stay in Paris before Robert le diable could be staged....Three years, that's a lot – it's too much." King Frederick William III of Prussia who attended the second performance of Robert le diable, swiftly invited him to compose a German opera, and Meyerbeer was invited to stage Robert in Berlin. Within a few years the opera had been staged with success all over Europe, and also in the USA.
The fusion of dramatic music, melodramatic plot, and sumptuous staging in Robert le diable proved a sure-fire formula, as did the partnership with Scribe, which Meyerbeer would go on to repeat in Les Huguenots, Le prophète, and L'Africaine. All of these operas held the international stage throughout the 19th century, as did the more pastoral Dinorah (1859), making Meyerbeer the most frequently performed composer at leading opera houses in the nineteenth century.
1832–1839
Letellier describes Meyerbeer's mature life as "a tale of two cities...His artistic triumph and legendary status were achieved in Paris...but he never abandoned Prussia, especially his home city of Berlin". His wife Minna was based in Berlin (she did not enjoy Paris) as was his beloved mother; and he had a series of Royal duties from the Prussian court, stemming from his appointment as Court Kapellmeister in 1832. For these reasons his life from 1830 onwards is characterised by travel between these two centres.
In Paris Meyerbeer had been asked by Louis Véron, the director of the Opéra, for a new work. At first, he attempted to persuade Véron to accept the opéra-comique Le portefaix to a libretto by Scribe, which he had been contracted to compose in early 1831; but Véron insisted on a full five-act piece. Together with Scribe, Meyerbeer reviewed many subjects before deciding, in 1832, on Les Huguenots. The contract which Meyerbeer signed with Véron contained a penalty clause if the work was not delivered by the end of 1833. When the time came and the opera was not ready, Véron claimed his 30,000 francs under this clause; Meyerbeer was perhaps unique amongst composers in being able to pay this. In fact, Véron refunded the money under a further agreement, when the opera was delivered in late 1834; but Veron himself was replaced as director of the Opera by Henri Duponchel before Les Huguenots was premiered on 29 February 1836. It was an immediate and immense success, its splendid staging and effects exceeding even those of Fromental Halévy's La Juive, which had premiered the previous year. Berlioz called the score "a musical encyclopaedia", and the singing, especially of Nourrit and Falcon, was universally praised. Les Huguenots was the first opera to be performed at the Opéra more than 1,000 times (the 1,000th performance being on 16 May 1906) and continued to be produced up to 1936, more than a century after its premiere. Its many performances in all other of the world's major opera houses give it a claim to being the most successful opera of the 19th century.
However, in Berlin Meyerbeer faced many problems, including the enmity of the jealous Gaspare Spontini, who since 1820 had been Court Kapellmeister and director of the Berlin Hofoper. Complaints were made in the Berlin press about the delay of the Berlin premiere of Robert le diable (which finally took place in June 1832), and Meyerbeer's music was decried by the critic and poet Ludwig Rellstab. There was no sign of the German opera expected from Meyerbeer. Moreover, reactionary censorship laws prevented the production of Les Huguenots in Berlin (and indeed in many other cities of Germany). Nevertheless, Meyerbeer, who (as he wrote to a friend) 'years ago...swore to myself never to respond personally to attacks on my work, and never under any circumstances to cause or respond to personal polemics', refused to be drawn on any of these matters.
Meanwhile, in Paris Meyerbeer began to seek new libretti, initially considering Le prophète by Scribe, and Le cinq mars by Henri Saint-Georges and eventually settling on Scribe's Vasco da Gama (later to become L'Africaine), which he contracted to complete by 1840. However, Meyerbeer had envisaged that the main role in L'Africaine would be written for Falcon; after the catastrophic failure of her voice in 1837, he turned instead to Le prophète.
On 20 August 1839, Meyerbeer, whilst relaxing at Boulogne in the company of Moscheles, met for the first time with Richard Wagner, who was en route to Paris. Their ensuing relationship (see below) was to have major repercussions for the careers and reputations of both. At this meeting Wagner read to Meyerbeer from the libretto of Rienzi, and Meyerbeer agreed to look through the score, which indeed he subsequently recommended for performance at Dresden.
The 1840s
By the end of 1841, Meyerbeer had completed the first draft of Le prophète, but refused to stage it because the then director of the opera, Leon Pillet, wished to cast his mistress, Rosine Stoltz, in the part of Fidès, the hero's mother. (Berlioz characterised Stoltz as 'la Directrice du Directeur'). Meyerbeer insisted on Pauline Viardot for the role. Meyerbeer lodged the score with a Parisian lawyer, and refused to countenance any production until his wishes were met. Only in 1849 was the Opéra willing to agree to his conditions. Meyerbeer was unique in his time in having the wealth and influence to impose his will as a composer in this way.
In the meantime, the situation in Prussia was changing. Following the death of Frederick William III, the new regime of Frederick William IV was far more liberal. Spontini was dismissed, and the Berlin premiere of Les Huguenots was arranged (20 May 1842). On the instigation of Alexander von Humboldt, Meyerbeer was installed later in the year as Prussian Generalmusikdirektor and director of music for the Royal Court. Meyerbeer wrote a number of works for court occasions, and also provided music, at the King's request, for the first staging in Berlin in 1856 of his brother Michael's play Struensee (based on the life of Johann Friedrich Struensee), which had also been proscribed under the previous regime.
In 1843 the Berlin Opera house burned down. The creation of the new building gave a new opportunity to commission a German opera from Meyerbeer. The subject of the opera, Ein Feldlager in Schlesien (A Silesian Encampment), was an episode in the life of Frederick the Great. As this patriotic opera 'needed' Prussian creators, Meyerbeer arranged that whilst the trusted Scribe would write the libretto, Rellstab would translate it and take the credit (and the royalties). This had the added advantage of winning over the formerly hostile Rellstab. Meyerbeer had hoped to have Jenny Lind (for whom he had written the part) sing the lead role of Vielka, but the opera premiered on 7 December 1844 without her (although she did appear in subsequent performances). The libretto was revised by Charlotte Birch-Pfeiffer to a Bohemian background as Vielka for a production in Vienna (1847). (In a further incarnation, the music was later used by Meyerbeer for a revamped libretto by Scribe featuring Peter the Great, and produced as an opéra comique in Paris (L'étoile du nord, 1854)).
With the continuing delays in the production of Le prophète and L'Africaine, Meyerbeer was now becoming subject to increasing sniping in Paris. In 1846 Meyerbeer began work on a new project with Scribe and Saint-Georges, Noëma, but in the following year Pillet was sacked from the opera and the direction was resumed by Duponchel. As a consequence, Meyerbeer was at last able to stage Le prophète with a cast to his liking, (including Viardot as Fidès), and it premiered on 16 April 1849. Again Meyerbeer's new opera was an outstanding success – despite the unusual feature of the lead female role being the hero's mother, rather than his lover. Amongst those at the 47th performance in February 1850 was Richard Wagner, now an impoverished political exile; the success of a work so fundamentally against his own operatic principles was one of the spurs to his spiteful anti-Jewish denunciation of Meyerbeer and Mendelssohn, Das Judenthum in der Musik (1850).
Last years
Increasing ill health (or possibly hypochondria) now began to restrict Meyerbeer's output and activities. The death of his beloved mother in 1854 was also a blow. However, the success of L'étoile du nord in 1854 demonstrated that he could still pack the theatres. Following this he began on two new projects, an opera by Scribe based on the biblical story of Judith, and an opéra comique, Le pardon de Ploërmel, (also known as Dinorah, the title given to the Italian version performed at London) to a libretto by Jules Barbier. The latter premiered on 4 April 1859 at the Opéra Comique in Paris; the former, like many previous projects, remained only as sketches. The death of Scribe in 1861 was a further disincentive to Meyerbeer to proceed with his operatic work in progress. In 1862, in accordance with his original contract with Scribe, he paid Scribe's widow compensation for not completing Judith.
Nevertheless, Meyerbeer's last years saw the composition of a good deal of non-operatic music, including a Coronation March for William I of Prussia, (1861), an overture for the 1862 International Exhibition in London, and incidental music (now lost) to Henry Blaze de Bury's play La jeunesse de Goethe (1860). He composed a few settings of liturgical material, including one of the 91st Psalm (1853); and also choral works for the synagogue at Paris.
Meyerbeer died in Paris on 2 May 1864. Rossini, who, not having heard the news, came to his apartment the next day intending to meet him, was shocked and fainted. He was moved to write on the spot a choral tribute (Pleure, pleure, muse sublime!). A special train bore Meyerbeer's body from the Gare du Nord to Berlin on 6 May, where he was buried in the family vault at the Jewish cemetery in Schönhauser Allee.
L'Africaine was eventually premiered after Meyerbeer's death at the Salle Le Peletier on 28 April 1865 in a performing edition undertaken by François-Joseph Fétis.
Personality and beliefs
Meyerbeer's immense wealth (increased by the success of his operas) and his continuing adherence to his Jewish religion set him apart somewhat from many of his musical contemporaries. They also gave rise to rumours that his success was due to his bribing musical critics. Richard Wagner (see below) accused him of being interested only in money, not music. Meyerbeer was, however, a deeply serious musician and a sensitive personality. He philosophically resigned himself to being a victim of his own success: his extensive diaries and correspondence – which survived the turmoil of 20th-century Europe and have now been published in eight volumes – are an invaluable source for the history of music and theatre in the composer's time.
Meyerbeer's personal attachment to Judaism was a mature personal decision – after the death of his maternal grandfather in 1811 he wrote to his mother: "Please accept from me a promise that I will always live in the religion in which he died." In his diaries he noted significant family events including birthdays, not by their Gregorian calendar occurrence, but by their Jewish calendar dates. Moreover, he was regularly subject to antisemitic hostility throughout his life (see below), warning his brothers frequently in his letters against richess (Yiddish for "Jew-hatred"). Writing to Heinrich Heine in 1839, he offered a sobering view:
I believe that richess is like love in the theatres and novels: no matter how often one encounters it...it never misses its target if effectively wielded...[Nothing] can grow back the foreskin of which we are robbed on the eighth day of life; those who, on the ninth day, do not bleed from this operation shall continue to bleed an entire lifetime, even after death.
It was perhaps this attitude that led Meyerbeer never to enter public controversy with those who antagonized him, either professionally or personally, although he occasionally displayed his grudges in his Diaries; for example, on hearing Robert Schumann conduct in 1850: "I saw for the first time the man who, as a critic, has persecuted me for twelve years with a deadly enmity."
In his mature operas, Meyerbeer selected stories which almost invariably featured as a major element of storyline a hero living within a hostile environment. Robert, Raoul the Huguenot, Jean the prophet, and the defiant Vasco da Gama in L'Africaine are all "outsiders". It has been suggested that "Meyerbeer's choice of these topics is not accidental; they reflect his own sense of living in a potentially inimical society."
Meyerbeer's relationship with Heine displays the awkwardness and prickliness of the social personae of both parties. Meyerbeer, apart from any of his personal feelings, needed Heine onside as an influential personality and writer on music. He genuinely admired Heine's verse, and made a number of settings from it. Heine, living in Paris from 1830, was always equivocal about his loyalties between Judaism and Christianity, and always short of money, asked Meyerbeer to intervene with Heine's own family for financial support and frequently took loans and money from Meyerbeer himself. He was not above threatening Meyerbeer with blackmail by writing satirical pieces about him (and indeed Meyerbeer paid Heine's widow to suppress such writings). And yet, at Heine's death in 1856, Meyerbeer wrote in his diary: "Peace be to his ashes. I forgive him from my heart for his ingratitude and many wickednesses against me."
Music
Meyerbeer did not operate on the basis of any theory or philosophy of music and was not an innovator in harmony or musical form. In the words of John H. Roberts: "He had a rich fund of appealing if somewhat short-breathed melody, commanded an increasingly rich harmonic vocabulary, and was a master of brilliant and novel orchestral effect. But he had very limited skill in thematic development and even less in contrapuntal combination."
All of his significant music is for the voice (opera and songs) and this reflects his detailed grounding in Italian opera. Throughout his career he wrote his operas with specific singers in mind and took great care to temper his writing to their strengths; but at the same time he seemed little interested in expressing the emotions of his characters, preferring to use his music to underline the larger-scale machinations of the plot. In this way he was close to the ideas of his teacher Vogler, himself renowned for his dramatic depictions of nature and incidents in keyboard music, who wrote in 1779 that: "writing beautifully is easy; expression is not too difficult; but only the genius of a great painter...can choose for each picture agreeable and natural colours that are particular to it." Indeed, Meyerbeer's devotion to the voice often led him to ignore the dramatic cohesion of his operas; typically, he would write far too much music and the scores of his operas would have to be drastically cut during rehearsals. (The lengthy overture to Le prophète had to be cut in its entirety, surviving only in a piano arrangement by Charles-Valentin Alkan.)
The first signs of Meyerbeer breaking with the Italian traditions in which he had trained are in Il crociato in Egitto. Amongst other notable features of the opera were its lavish orchestral forces (extending to two onstage military bands in the final act). The grandiosity of the work reflected the need to make an impact on the sophisticated and technologically advanced stages of London and Paris, for which it was extensively rewritten. Meyerbeer's contribution was revealed at this stage to be the combination of Italian vocal lines, German orchestration and harmony, and the use of contemporary theatrical techniques, ideas which he carried forward in Robert and his later works. However Meyerbeer's background in the Italian operatic traditions can be clearly seen as late as 1859 in the 'mad scene' in Dinorah (the virtuoso aria Ombre légère).
Typical of Meyerbeer's innovative orchestration is the use in Robert le diable of dark-toned instruments – bassoons, timpani and low brass, including ophicleide – to characterise the diabolical nature of Bertram and his associates. At one point the arrival of a character is announced by a combination of three solo timpani and pizzicato double-basses. Similar adventurousness is shown in Les Huguenots where the composer uses a solo bass clarinet and solo viola d'amore to accompany arias. For Le prophète, Meyerbeer considered using the newly invented saxophone. Becker suggests that Meyerbeer in all his grand operas often: 'created a deliberately 'unbeautiful' sound.....with unusual orchestration designed to express ...content rather than produce a sensuous sound' and opines that this explains much of the criticism he received from German writers on music.
Theatre
Meyerbeer's concern to integrate musical power with all the resources of contemporary theatre anticipated in some ways the ideas of Wagner's Gesamtkunstwerk. Becker writes:
Wagner's idea of music drama...was originally developed by way of grand opera...his ideas could never have been realised in their particular form without the pioneering development[s]...that Meyerbeer's operas were the first to demand.
Meyerbeer was always concerned to intensify the theatricality of his operas, even when new ideas emerged at a relatively late stage in the music's composition. An example of his receptiveness was the addition of the provocative "Ballet of the Nuns" in the third act of Robert le diable, at the suggestion of Duponchel. The set for the ballet was an innovative and striking design by Duponchel and Pierre-Luc-Charles Ciceri. Duponchel had also introduced technical innovations for the staging, including 'English traps' for the sudden appearance and disappearance of the ghosts. (Meyerbeer was led in fact to complain that the spectacle was too much and was pushing his music into the background). In Le prophète, the skating ballet, which created a great sensation, was composed after rehearsals had begun, in order to capitalise on the new craze for roller skates. The theatre was also able to use new electrical lighting effects to create a powerful sunrise, and to depict the conflagration which ends the opera.
Meyerbeer's large choral "tableaux" also made a major contribution to the overall dramatic effect; the composer particularly sought opportunities to write such large-scale crowd scenes, and preferred libretti which offered such possibilities. Crosten writes: "These massive developed sections are the chief glory of the Meyerbeerian opera, for they are not only big in volume but big in their structural design."
Mention should also be made of Meyerbeer's intense concern with the business of opera, which indeed had formed part of his studies under Vogler. This gave him the background not only to deal with complex contractual issues and to negotiate with publishers but extended to wooing the press and "marketing" in general. Indeed, he was probably the originator of the "press conference" at which journalists were fed refreshments and information. This marketing and commercialisation of opera was reinforced by Meyerbeer's Paris publisher Maurice Schlesinger who had established his fortune on the back of Robert, and even persuaded Honoré de Balzac to write a novella (Gambara) to promote Les Huguenots. Schlesinger's publication of Franz Liszt's Reminiscences de Robert le diable sold out on the day of issue and was immediately reprinted. Such manoeuvres did little to endear Meyerbeer to his fellow artists, and indeed engendered envious comments of the sort already quoted from Berlioz and Chopin.
Musical influence
Meyerbeer had no pupils and no direct "school". Yet as his works spanned the golden age of grand opera, clear traces of his influence can be found in the grand operas of Fromental Halévy, Gaetano Donizetti, Giuseppe Verdi and others. After 1850, Huebner notes a continuing tradition of operas at Paris where 'principals appear with chorus at the end of an act and where private intrigue conjoins a well-articulated public dimension in the plot' and cites amongst others Charles Gounod's La nonne sanglante (1854), Ambroise Thomas's Hamlet and operas by Jules Massenet, amongst them Le roi de Lahore (1877) and Le Cid (1885). The line of succession was however virtually washed away in the tide of Wagner in Paris after 1890 (see below). The influence of Meyerbeer has also been detected in the operas of Antonín Dvořák and other Czech composers, and in the operas of Russian composers including Rimsky-Korsakov and the young Tchaikovsky, who thought Les Huguenots "one of the greatest works in the repertoire".
Themes from Meyerbeer's works were used by many contemporary composers, often in the form of keyboard paraphrases or fantasies. Perhaps the most elaborate and substantial of these is Franz Liszt's monumental Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam", S. 259 (1852), for organ or pédalier, based on the chorale of the Anabaptist priests in Le prophète and dedicated to Meyerbeer. The work was also published in a version for piano duet (S. 624) which was much later arranged for solo piano by Ferruccio Busoni.
Liszt also wrote piano works based on Robert le diable, notably the Réminiscences de Robert le diable subtitled Valse infernale. He also transcribed two pieces from L'Africaine, as "Illustrations de l'opéra L'Africaine". Frédéric Chopin and Auguste Franchomme jointly composed a Grand duo concertant on themes from the opera, for cello and piano, in 1832, and the Italian pianist and composer Adolfo Fumagalli composed an elaborate fantasy on the opera for left hand alone as his Op. 106. Other pieces based on the opera included works by Adolf von Henselt and Jean-Amédée Méreaux. Similar works, of varying musical quality, were churned out by composers for each of the further operas in attempts to cash in on their success.
Critical reception
Meyerbeer's operas consistently enjoyed enormous popularity during his lifetime, and the verdict of (the then pro-Meyerbeer) Wagner in 1841, when the Paris Opéra was vainly awaiting Le prophète and L'Africaine, was not atypical:
The Paris Opéra lies dying. It looks for its salvation to the German Messiah, Meyerbeer; if he keeps it waiting much longer, its death agonies will begin...It is for that reason...that one only sees Robert le Diable and Les Huguenots turning up again when the mediocrities are forced to withdraw.
However, dissenting voices were heard from critics. Not all of these however were on musical grounds. Berlioz for example raised the issue of the inhibiting effects of Meyerbeer's success (which he felt particularly as one who struggled to get his works performed): "The pressure [Meyerbeer] exerts on managers, artists and critics, and consequently on the Paris public, at least as much by his immense wealth as by his eclectic talent, makes all serious success at the Opéra virtually impossible. This baneful influence may still be felt ten years after his death: Heinrich Heine maintains he has 'paid in advance'."
Mendelssohn disapproved of Meyerbeer's works on moral grounds, believing Robert le diable to be 'ignoble'.
Schumann's attack on Les Huguenots was clearly a personal diatribe against Meyerbeer's Judaism: "Time and time again we had to turn away in disgust...One may search in vain for a sustained pure thought, a truly Christian sentiment...It is all contrived, all make believe and hypocrisy!...The shrewdest of composers rubs his hands with glee."
Wagner's disciple Theodor Uhlig followed Schumann's Judaeophobic line in his 1850 review of Le prophète:
"To a good Christian [it] is at best contrived, exaggerated, unnatural and slick, and it is not possible that the practised propaganda of the Hebrew art-taste can succeed using such means." Uhlig's phrase 'the Hebrew art-taste' was to be used by Richard Wagner to spark off his attack on Meyerbeer, Das Judenthum in der Musik (Jewishness in Music) (see below).
In 1911, the composer Charles Villiers Stanford cited Meyerbeer's music as an example of the dangers he believed lay in improvising at the piano without a clear plan, (although there is in fact no evidence to suggest Meyerbeer worked in this way), writing: 'Man of genius though he was, as any man who wrote the fourth act of the Huguenots must have been, Meyerbeer is a sign-post of this danger of trusting to the pianoforte as a medium of inspiration.'
Wagner's campaign against Meyerbeer
The vitriolic campaign of Richard Wagner against Meyerbeer was to a great extent responsible for the decline of Meyerbeer's popularity after his death in 1864. This campaign was as much a matter of personal spite as of racism – Wagner had learnt a great deal from Meyerbeer and indeed Wagner's early opera Rienzi (1842) was facetiously called by Hans von Bülow 'Meyerbeer's best opera'. Meyerbeer supported the young Wagner, both financially and in helping to obtain the premiere productions of both Rienzi and The Flying Dutchman at Dresden.
Wagner's early correspondence with Meyerbeer, up to 1846, is described by historian David Conway as "cringingly obsequious". However, from the early 1840s, as Wagner developed Tannhäuser and Lohengrin, his ideas on opera increasingly diverged from Meyerbeerean standards; even in 1843 Wagner had written to Schumann condemning Meyerbeer's work as 'a striving after superficial popularity'. During 1846 Meyerbeer turned down Wagner's application for a loan of 1,200 thalers, and this may have marked a turning point.
In particular, after 1849, Wagner resented Meyerbeer's continuing success at a time when his own vision of German opera had little chance of prospering. After the May Uprising in Dresden of 1849, Wagner was for some years a political refugee facing a prison sentence or worse should he return to Saxony. During his period of living in exile, he had few sources of income and little opportunity of getting his own works performed. The success of Le prophète sent Wagner over the edge, and he was also deeply envious of Meyerbeer's wealth. In reaction he published, under a pseudonym, his 1850 essay Jewishness in Music. Without specifically naming Meyerbeer, he interpreted the popular success of the latter as the undermining of German music by alleged Jewish venality and willingness to cater to the lowest tastes, and attributed the supposed poor quality of such 'Jewish music' to Jewish speech and song patterns, which 'though the cultured son of Jewry takes untold pains to strip them off, nevertheless they shew an impertinent obstinacy in cleaving to him'.
In his major theoretical statement, Opera and Drama (1852), Wagner objected to the music of Meyerbeer, asserting its superficiality and incoherence in dramatic terms; this work contains Wagner's well-known put-down of Meyerbeer's operas as 'effects without causes'. It also contains the sardonic crack that '[Rossini] never could have dreamt that it would someday occur to the Bankers, for whom he had always made their music, to make it for themselves'. Jewishness in Music was reissued in 1869, after Meyerbeer's death, in an extended form and with a far more explicit attack on Meyerbeer. This version was under Wagner's own name – and as Wagner had by now a far greater reputation, his views obtained far wider publicity. These attacks on Meyerbeer (which also included swipes at Felix Mendelssohn) are regarded by Paul Lawrence Rose as a significant milestone in the growth of German anti-Semitism.
As Wagner prospered, it became second nature for him, his wife Cosima and the Wagner circle to deprecate Meyerbeer and his works, and Cosima's Diaries contain numerous instances of this – (as well as recording a dream of Wagner's in which he and Meyerbeer were reconciled). Wagner's autobiography Mein Leben, circulated amongst his friends (and published openly in 1911), contains constant sniping at Meyerbeer and concludes with Wagner receiving the news of Meyerbeer's death, and his companions' gratification at the news. The downgrading of Meyerbeer became a commonplace amongst Wagnerites: in 1898, George Bernard Shaw, in The Perfect Wagnerite, commented that: "Nowadays young people cannot understand how anyone could have taken Meyerbeer's influence seriously."
Thus as Wagner's stock rose, Meyerbeer's fell. In 1890, the year before the Paris premiere of Wagner's Lohengrin, there were no Wagner performances at the Paris Opéra, and 32 performances of Meyerbeer's four grand operas. In 1909, there were 60 Wagner performances, and only three of Meyerbeer's (Les Huguenots being the sole work performed).
Reevaluation
Meyerbeer's costly operas, requiring grand casts of leading singers, were gradually dropped from the repertoire in the early 20th century. They were banned in Germany from 1933, and subsequently in subject countries, by the Nazi regime because the composer was Jewish, and this was a major factor in their further disappearance from the repertory.
One of the first serious post-war studies of Meyerbeer and grand opera was Crosten's 1948 book Grand Opera: An Art and a Business which laid out the themes and standards for much subsequent research. A major contribution to the revival of interest in Meyerbeer was the work of the scholar Heinz Becker, leading to the complete publication, between 1960 and 2006, of Meyerbeer's complete diaries and correspondence in German, which are an important source for musical history of the era. The English scholar Robert Letellier has translated the diaries and undertaken a wide range of Meyerbeer studies. The establishment of a 'Meyerbeer Fan Club' in America also stimulated interest.
Most importantly the operas themselves have been revived and recorded, although despite the efforts of such champions as Dame Joan Sutherland, who took part in performances of, and recorded, Les Huguenots, they have yet to achieve anything like the huge popular following they attracted during their creator's lifetime. Recordings are now available of all the operas from Il crociato onwards, for many of the earlier Italian operas, and for other pieces including his songs and the incidental music for Struensee.
Amongst the reasons often adduced for the dearth of productions in the 20th century were the scale of Meyerbeer's more ambitious works and the cost of mounting them, as well as the alleged lack of virtuoso singers capable of doing justice to Meyerbeer's demanding music. However, successful productions of some of the major operas at relatively small centres such as Strasbourg (L'Africaine, 2004) and Metz (Les Huguenots, 2004) showed that this conventional wisdom can be challenged. Since then, there have been highly successful new productions of Les Huguenots at major opera houses in France, Belgium and Germany. The Paris Opera opened a new production of Les Huguenots in September 2018, the first time since 1936 for the opera to be performed there. In December 2012, the Royal Opera House in London premiered its first performance of Robert le diable in 120 years. In 2013, Meyerbeer's original version of L'Africaine in a new critical edition by Jürgen Schläder was performed by Chemnitz Opera under the original title Vasco de Gama. The production was a success with audiences and critics and won the poll of German critics award presented by Opernwelt magazine annually as "Rediscovery of the year" in 2013. The critical edition was also used for a high-profile new production at the Deutsche Oper Berlin in October 2015. From 2015 onwards, new productions of Le prophète began to appear at some European opera houses.
On 9 September 2013 a plaque to mark Meyerbeer's last residence was put up at Pariser Platz 6a, Berlin.
German soprano Andrea Chudak, devoted much of her work to his music since 2010s. She founded the Giacomo Meyerbeer Society and released several albums of his music.
Selected honours and awards
1813 – Awarded title of Court and Chamber composer to Louis II, Grand Duke of Hesse.
1836 – Created Knight in the Order of Leopold, by Royal Order of King Leopold I.
1842 – Awarded Pour le Mérite for sciences and arts (Prussia).
1842 – Awarded Order of the Oak Crown by King William II of the Netherlands.
1842 – Created Knight of the Order of the Polar Star by King Oscar I of Sweden.
1850 – Awarded Honorary Doctorate in Philosophy by the University of Jena.
On film
Vernon Dobtcheff played the role of Giacomo Meyerbeer in the 1983 film Wagner.
Discography & profile
Normalised profile
Percentiles are computed over every artist in the database, so a tier-3 artist can still sit in the 95th percentile on a single axis.
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 59 | 97.7th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 36 | 91.9th |
| Studio albums | 32 | 98.4th |
| Awards recorded | 15 | 99.3th |
| Timeline events | 48 | 98.7th |
| Recording span (years) | -120 | 4.6th |
| Genres | 2 | 74th |
Percentiles are computed at render time; missing values mean the artist has no data on that axis.
Discography (36 release groups · 32 studio albums)
Albums · 32
1990 · studio album
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Tracklist · 48 tracks · 3:50:03
Disc 11Les Huguenots: Ouverture. "Des beaux jours de la jeunesse"7:182Les Huguenots: Acte I. "De ces lieux enchanteurs"4:363Les Huguenots: Acte I. "Bonheur de la table"3:304Les Huguenots: Acte I. "Plus blanche que le blanche hermine"11:095Les Huguenots: Acte I. "Seigneur, rempart et seul soutien"4:176Les Huguenots: Acte I. "Piff-Paff"5:417Les Huguenots: Acte I. "L'ouverture est singulière"6:578Les Huguenots: Acte I. "Il faut rompre l'hymen qui pour moi"2:359Les Huguenots: Acte I. "Une dame, noble et sage"7:1810Les Huguenots: Acte I. "Les plaisirs, les honneurs, la puissance"4:03Disc 21Les Huguenots: Acte II. Entr'acte "Ô beau pays de la Tourraine"14:212Les Huguenots: Acte II. "Que notre Reine est belle"2:513Les Huguenots: Acte II. "Jeunes beautés, sous ce feuillage"4:314Les Huguenots: Acte II. "Le voici! Du silence"2:365Les Huguenots: Acte II. "Pareille loyauté vaut son prix"7:556Les Huguenots: Acte II. "Allons, toujours le Page"4:277Les Huguenots: Acte II. "Par l'honneur, par le nom"3:498Les Huguenots: Acte II. "Et maintenant, je dois offrir à votre vue"0:549Les Huguenots: Acte II. "Ô transport, ô démence"5:00Disc 31Les Huguenots: Acte III. Entr'acte "C'est le jour du Dimanche"1:342Les Huguenots: Acte III. "Prenant son sabre de bataille"1:213Les Huguenots: Acte III. "Vierge Marie, soyez bénie"1:404Les Huguenots: Acte III. "Profanes impies"2:085Les Huguenots: Acte III. "Danse bohémienne"3:436Les Huguenots: Acte III. "Pour remplir un vœu solennel"5:377Les Huguenots: Acte III. "Ô terreur, je sais l'heure"17:578Les Huguenots: Acte III. "En mon bon droit j'ai confiance"4:559Les Huguenots: Acte III. "Arrêtez, entendez-vous ces pas"1:3210Les Huguenots: Acte III. "Nous voilà, félons, arrière"2:0411Les Huguenots: Acte III. "Arrêtez, respectez la Reine de Navarre"3:3912Les Huguenots: Acte III. "Récitatif et cortège de noce"5:54Disc 41Les Huguenots: Acte IV. Entr'acte "Je suis seule chez moi"1:552Les Huguenots: Acte IV. "Parmi les fleurs mon rêve se ranime"5:543Les Huguenots: Acte IV. "Oui, l'ordre de la Reine"12:064Les Huguenots: Acte IV. "Gloire au Grand Dieu, Seigneur"6:405Les Huguenots: Acte IV. "Ô Ciel, où courez-vous"1:546Les Huguenots: Acte IV. "Le danger presse"1:577Les Huguenots: Acte IV. "Non par toi ce seuil redoutable"2:208Les Huguenots: Acte IV. "Tu l'as dit, oui, tu m'aimes"4:329Les Huguenots: Acte IV. "Entends-tu ces sons funèbres"1:0610Les Huguenots: Acte IV. "Plus d'amour! plus d'ivresse!"6:2111Les Huguenots: Acte V. Entr'acte et ballet1:3612Les Huguenots: Acte V. "Aux armes, mes amis"5:4113Les Huguenots: Acte V. "C'est toi, mon vieux Marcel"9:2714Les Huguenots: Acte V. "Savez-vous qu'en joignant les mains"4:4615Les Huguenots: Acte V. "Abjurez, Huguenots"1:1216Les Huguenots: Acte V. "Voyez, le ciel s'ouvre et rayonne"3:3017Les Huguenots: Acte V. "Par le fer et par l'incendie"3:141991 · studio album
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Tracklist · 47 tracks · 3:37:11
Disc 11Les Huguenots: Overture4:412Les Huguenots, Act 1: Des beaux jours de la jeunesse1:523Les Huguenots, Act 1: De ces lieux enchanteurs2:464Les Huguenots, Act 1: Sous ce beau ciel de la Touraine1:395Les Huguenots, Act 1: Bonheur de la table3:396Les Huguenots, Act 1: Versez de nouveaux vins !1:347Les Huguenots, Act 1: Non loin des vieiles tours… Plus blanche que la blanche hermine7:328Les Huguenots, Act 1: Quelle étrange figure vois-je ici apparaître ?4:279Les Huguenots, Act 1: Eh! mais… plus je le vois… Piff, paff, piff, paff !4:3310Les Huguenots, Act 1: Au maître de ces lieux2:5411Les Huguenots, Act 1: L'aventure est singulière4:5212Les Huguenots, Act 1: Il faut rompre l'hymen… Honneur au conquérant2:2713Les Huguenots, Act 1: En ce château… Nobles seigneurs, salut !3:4914Les Huguenots, Act 1: Trop de mérite aussi quelquefois importune6:27Disc 21Les Huguenots, Act 2: O beau pays de la Touraine12:272Les Huguenots, Act 2: Que notre reine est belle2:453Les Huguenots, Act 2: Jeunes beautés, sous ce feuillage4:264Les Huguenots, Act 2: Non, non, non, vous n'avez jamais4:325Les Huguenots, Act 2: C'est Raoul de Nangis3:066Les Huguenots, Act 2: Pareille loyauté vaut son prix9:117Les Huguenots, Act 2: Madame! — Allons, toujours le page!4:328Les Huguenots, Act 2: Par l'honneur, par le nom3:379Les Huguenots, Act 2: Et maintenant je dois offrir à votre vue4:45Disc 31Les Huguenots, Act 3: C'est le jour du dimanche2:392Les Huguenots, Act 3: Vierge Marie, soyez bénie !3:323Les Huguenots, Act 3: Venez, venez, venez, venez ! (Gipsy Dance)4:264Les Huguenots, Act 3: Pour remplir un voeu solennel3:395Les Huguenots, Act 3: Rentrez, habitants de Paris1:376Les Huguenots, Act 3: O terreur ! Je tressaille9:407Les Huguenots, Act 3: Tu m'as comprise ; adieu !4:058Les Huguenots, Act 3: Un danger le menace, et j'ignore lequel1:549Les Huguenots, Act 3: En mon bon droit j'ai confiance !8:3210Les Huguenots, Act 3: Arrêtez ! Respectez la reine de Navarre !4:4011Les Huguenots, Act 3: Au banquet où le ciel leur apprête1:55Disc 41Les Huguenots, Act 4: Je suis seule chez moi !5:472Les Huguenots, Act 4: Juste ciel ! est-ce lui1:343Les Huguenots, Act 4: Oui, l'ordre de la reine… des troubles renaissants11:394Les Huguenots, Act 4: Gloire, gloire au grand Dieu vengeur !7:025Les Huguenots, Act 4: O ciel ! Où courez-vous ?10:256Les Huguenots, Act 4: Entends-tu ces sons funèbres ?6:377Les Huguenots, Act 5, Scene 1: Entr'acte & Ball2:298Les Huguenots, Act 5, Scene 1: Aux armes, mes amis !5:169Les Huguenots, Act 5, Scene 2: C'est toi, mon vieux Marcel7:5510Les Huguenots, Act 5, Scene 2: Savez-vous qu'en joignant vos mains2:5611Les Huguenots, Act 5, Scene 2: Abjurez, huguenots, le ciel l'ordonne !1:0412Les Huguenots, Act 5, Scene 2: Ah ! voyez, le ciel s'ouvre et rayonne3:0913Les Huguenots, Act 5, Scene 3: Par le fer et par l'incendie2:061992 · studio album
1994 · studio album
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Tracklist · 37 tracks · 1:15:02
1Liebeslieder, op. 52: I. Rede, Mädchen, allzu liebes1:132Liebeslieder, op. 52: II. Am Gesteine rauscht die Flut0:413Liebeslieder, op. 52: III. O die Frauen1:114Liebeslieder, op. 52: IV. Wie des Abends, schöne Röte0:485Liebeslieder, op. 52: V. Die grüne Hopfenranke1:586Liebeslieder, op. 52: VI. Ein kleiner, hübscher Vogel2:257Liebeslieder, op. 52: VII. Wohl schön bewandt war es1:288Liebeslieder, op. 52: VIII. Wenn so lind dein Auge mir1:289Liebeslieder, op. 52: IX. Am Donaustrande2:0910Liebeslieder, op. 52: X. O wie sanft die Quelle0:5311Liebeslieder, op. 52: XI. Nein, es ist nicht auszukommen0:4912Liebeslieder, op. 52: XII. Schlosser auf, und mache Schlösser0:4013Liebeslieder, op. 52: XIII. Vögelein durchrauscht die Luft0:4614Liebeslieder, op. 52: XIV. Sieh’, wie ist die Welle klar0:5215Liebeslieder, op. 52: XV. Nachtigall, sie singt so schön1:2016Liebeslieder, op. 52: XVI. Ein dunkeler Schacht ist Liebe1:1517Liebeslieder, op. 52: XVII. Nict wandle, mein Licht1:5518Liebeslieder, op. 52: XVIII. Es bebet das Gesträuche1:2519Neue Liebeslieder, op. 65: I. Verzicht, o Hertz, auf Rettung0:4420Neue Liebeslieder, op. 65: II. Finstere Schatten der Nacht1:3121Neue Liebeslieder, op. 65: III. An jeder Hand die Finger1:2022Neue Liebeslieder, op. 65: IV. Ihr schwarzen Augen0:3523Neue Liebeslieder, op. 65: V. Wahre, wahre deinen Sohn1:0224Neue Liebeslieder, op. 65: VI. Rosen steckt mir an die Mutter0:5725Neue Liebeslieder, op. 65: VII. Vom Gebirge Well’ auf Well’1:0226Neue Liebeslieder, op. 65: VIII. Weiche Gräser im Revier1:3027Neue Liebeslieder, op. 65: IX. Nagen am Herzen1:0528Neue Liebeslieder, op. 65: X. Iche kose süss mit der und der1:0429Neue Liebeslieder, op. 65: XI. Alles, alles in den Wind0:4430Neue Liebeslieder, op. 65: XII. Schwarzer Wald, dein Schatten1:2231Neue Liebeslieder, op. 65: XIII. Nein, Geliebter, setze dich1:5432Neue Liebeslieder, op. 65: XIV. Flammenauge, dunkles Haar1:4033Neue Liebeslieder, op. 65: XV. Zum Schluss2:4134Three Psalms, op. 85: I. Psalm 8: Unendlicher! Gott, unser Herr!6:0435Three Psalms, op. 85: II. Psalm 23: Gott ist mein Hirt5:1436Three Psalms, op. 85: III. Psalm 130: Aus der Tiefen ruf’ ich7:3437Psalm 91: Qui in manu Dei requiescit13:431995 · studio album
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Tracklist · 18 tracks · 55:39
1Le ricordanze4:002Chant de mai4:313La folle de St. Joseph4:144La Marguerite du Poete1:215À une jeune Mère: A une jeune mere3:3066 Canzonettes italiennes: No. I. Sceglier fra mille un core1:4676 Canzonettes italiennes: No. II. Da voi, da voi, cari lumi2:5286 Canzonettes italiennes: No. III. Giura il nocchier2:1196 Canzonettes italiennes: No. IV. Bei labbri che amore3:52106 Canzonettes italiennes: No. V. Se non ti moro allato2:20116 Canzonettes italiennes: No. VI. Basta dir ch'io sono amante1:5612Scirocco1:4613Sie und ich3:3114Meeresstille1:4415Fantaisie3:4616La Lavandiere3:5617Le Revenant du vieux Chateaux de Bade4:0918La fille de l'air4:141996 · studio album
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Tracklist · 57 tracks · 3:47:44
Disc 11Les Huguenots, Act I Scene 1: Preludio4:552Les Huguenots, Act I Scene 1: Nei bei dí di giovinezza4:223Les Huguenots, Act I Scene 2: Qui sotto il ciel della Turrena1:344Les Huguenots, Act I Scene 2: Piacer della mensa1:445Les Huguenots, Act I Scene 2: Versate in abbondanza1:536Les Huguenots, Act I Scene 2: Non lungi dalle torri - Bianca al par si neve alpina5:167Les Huguenots, Act I Scene 3: Qual mai strana figura - Io comparir qui veggo?3:328Les Huguenots, Act I Scene 3: Ma che? ben osservando, mi ricorda1:319Les Huguenots, Act I Scene 3: Piff, paff, piff, paff!2:5810Les Huguenots, Act I Scene 4: Del castello al Signor1:2711Les Huguenots, Act I Scene 5: L'avventura è singolare2:3812Les Huguenots, Act I Scene 6: Scoglier si dee l'imen1:3913Les Huguenots, Act I Scene 7: Nel mio castel - Salute, o Cavalieri4:0414Les Huguenots, Act I Scene 7: Talor soverchio merto anche importuna!6:0715Les Huguenots, Act II Scene 8 / 9 / 10: Lieto suol della Turrena3:5416Les Huguenots, Act II Scene 8 / 9 / 10: Che la lotta fatal dell'empie sette4:1417Les Huguenots, Act II Scene 8 / 9 / 10: Chi giunge qui? - Deh, vedi2:2618Les Huguenots, Act II Scene 11: Egli vien, egli vien!2:3519Les Huguenots, Act II Scene 12: Raul, la vostra fe'4:0420Les Huguenots, Act II Scene 12: Scender nel mio petto3:4921Les Huguenots, Act II Scene 13: Signora! - Ancor qui siete, Urbano?0:2722Les Huguenots, Act II Scene 14: Onore alla più bella!2:1923Les Huguenots, Act II Scene 14: Per l'onor, per la fe'6:45Disc 21Les Huguenots, Act III Scene 1: Ecco il giorno di festa2:242Les Huguenots, Act III Scene 1: Vergin del Cielo2:353Les Huguenots, Act III Scene 1: Su, venite, siamo qua3:214Les Huguenots, Act III Scene 1: Per compire un voto di pietà3:125Les Huguenots, Act III Scene 2: Tornate alla vostra magion2:586Les Huguenots, Act III Scene 3: Nell'orror di cupa notte3:167Les Huguenots, Act III Scene 3: Ah l'infido! quest'anima amante3:418Les Huguenots, Act III Scene 3: Tu m'intendesti? - Addio...3:299Les Huguenots, Act III Scene 4: Su, su, Marcel - se in tempo giungerem6:1810Les Huguenots, Act III Scene 4: Alto là! - Oh tradimento!2:4411Les Huguenots, Act III Scene 5 / 6: Alt, olà! rispettate5:5712Les Huguenots, Act IV Scene 1 / 2: Alfin son sola, sola col mio dolor2:5713Les Huguenots, Act IV Scene 3: Di Caterina un cenno tutti2:5514Les Huguenots, Act IV Scene 3: La causa è santa in petto1:4615Les Huguenots, Act IV Scene 3: Su vuoi fidar può il re?3:2416Les Huguenots, Act IV Scene 4: E voi che rispondete3:3317Les Huguenots, Act IV Scene 5: Gloria a Dio vendicatore5:4118Les Huguenots, Act IV Scene 6: Raul - ove vai tu?1:5219Les Huguenots, Act IV Scene 6: Stringe il periglio8:4120Les Huguenots, Act IV Scene 6: Non ascolti un suon funèbre?5:53Disc 31Les Huguenots, Act IV Scene 1 / 2: Sei tu, mio buon Marcel3:302Les Huguenots, Act IV Scene 1 / 2: Non vedi tu che a speme il cor si appresta?4:383Les Huguenots, Act IV Scene 1 / 2: Nell'unir vostre man4:424Les Huguenots, Act IV Scene 1 / 2: Chi va là?3:005Les Huguenots, Act I Scene 2: Non lungi dalle torri - Bianca al par si neve alpina (Orchestra Sinfonica e Coro di Milano della Rai feat. conductor: Tullio Serafin)4:486Les Huguenots, Act I Scene 3: Piff, paff, piff paff! (Orchestra Sinfonica e Coro di Milano della Rai feat. conductor: Tullio Serafin)4:007Les Huguenots, Act II Scene 8 / 9 / 10: Lieto suol della Turrena - Che la lotta fatal dell'empie sette (Orchestra Sinfonica e Coro di Milano della Rai feat. conductor: Tullio Serafin)10:018Les Huguenots, Act IV Scene 6: Raul... ove vai tu? (Orchestra Sinfonica e Coro di Milano della Rai feat. conductor: Tullio Serafin)16:569Les Huguenots, Act II: O ciel, où suis-je? (Orchestra and chorus of Radio Austria feat. conductor: Ernst Märzendorfer)3:0810Les Huguenots, Act II: Preux doit vivre sa belle (Orchestra and chorus of Radio Austria feat. conductor: Ernst Märzendorfer)2:2411Les Huguenots, Act II: Ah!.. Si j'étais coquette (Orchestra and chorus of Radio Austria feat. conductor: Ernst Märzendorfer)4:1712Les Huguenots, Act IV: O ciel! Où courez-vous? (Orchestra and chorus of Radio Austria feat. conductor: Ernst Märzendorfer)5:5113Les Huguenots, Act IV: Tu l'as dit! (Orchestra and chorus of Radio Austria feat. conductor: Ernst Märzendorfer)4:5314Les Huguenots, Act IV: Plus d'amour! Plus d'ivresse! (Orchestra and chorus of Radio Austria feat. conductor: Ernst Märzendorfer)4:461998 · studio album
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Tracklist · 17 tracks · 1:14:43
1Struensee: Overture14:282Struensee: Act I: Melodrama0:593Struensee: Act I: Entr'acte: Der Aufruhr8:354Struensee: Act II: Fanfare0:175Struensee: Act II: March and Chorus2:256Struensee: Act II: Music2:457Struensee: Act II: Entr'acte II: Der Ball7:078Struensee: Act II: Entr'acte III: Die Dorfschenke5:599Struensee: Act II: Entr'acte IV3:4010Struensee: Act V: Funeral March1:1811Struensee: Act V: Melodrama2:1112Struensee: Act V: Concluding Scene2:0413Les patineurs (arr. C. Lambert on music from Le prophete and L'etoile du nord): Valse1:3714Les patineurs (arr. C. Lambert on music from Le prophete and L'etoile du nord): Redovva7:1215Les patineurs (arr. C. Lambert on music from Le prophete and L'etoile du nord): Quadrille4:3816Les patineurs (arr. C. Lambert on music from Le prophete and L'etoile du nord): Galop4:3917L'Africaine: Prelude4:491998 · studio album
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Tracklist · 7 tracks · 1:08:51
1Fest-Ouvertüre im Marschstyl15:452Festmarsch9:043Le prophete (The Prophet), Act IV: Coronation March3:5644 Fackeltanze: 1 in B-Flat Major8:3954 Fackeltanze: 2 in E-Flat Major7:4564 Fackeltanze: 3 in C Minor13:0474 Fackeltanze: 4 in C Major10:38Robert le Diable (Chœur et Orchestre National de l'Opera de Paris feat. conductor: Thomas Fulton)
1999 · studio album
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Tracklist · 53 tracks · 3:27:53
Disc 11Robert le Diable: Overture3:502Robert le Diable: Act I. "Versez à tasse pleine"4:283Robert le Diable: Act I. "Jadis régnait en Normandie"3:054Robert le Diable: Act I. "Qu'on arrête un vassal insolent!"4:585Robert le Diable: Act I. "O mon prince!"2:446Robert le Diable: Act I. "Va, dit-elle, va"4:037Robert le Diable: Act I. "Je n'ai pu fermer sa paupière!"3:428Robert le Diable: Act I. "Courage! Ta nouvelle"2:129Robert le Diable: Act I. "Le duc de Normandie"1:3510Robert le Diable: Act I. "O fortune à ton caprice"3:0111Robert le Diable: Act I. "J'ai perdu - ma revanche!"3:0812Robert le Diable: Act I. "Malheur sans égal!"2:3713Robert le Diable: Act II. "Que je hais les grandeurs"2:5514Robert le Diable: Act II. "Il me délaisse"4:3015Robert le Diable: Act II. "Approchons sans frayeur!"1:3716Robert le Diable: Act II. "Idole de ma vie"3:5017Robert le Diable: Act II. "Courage! allons montrez-vous"0:3718Robert le Diable: Act II. "Avec bonté voyez ma peine"4:3019Robert le Diable: Act II. "Mon cœur s'élance et palpite"2:2120Robert le Diable: Act II. "Oui! dans ces combats guerriers"4:3621Robert le Diable: Act II. Ballet6:2722Robert le Diable: Act II. "Quand tous nous chevaliers"2:3623Robert le Diable: Act II. "Voici le signal des combats"4:42Disc 21Robert le Diable: Act III. "Du rendez-vous voici"2:192Robert le Diable: Act III. "Ah! L'honnête homme!"6:153Robert le Diable: Act III. "Encore un de gagné! - O mon fils!"4:444Robert le Diable: Act III. "Raimbaut! dans ce lieu solitaire"2:325Robert le Diable: Act III. "Quand je quittai la Normandie"2:216Robert le Diable: Act III. "O ciel le bruit redouble"2:277Robert le Diable: Act III. "L'arrêt est prononcé!"1:408Robert le Diable: Act III. "Mais Alice, qu'as-tu donc!"7:529Robert le Diable: Act III. "Fatal moment, cruel mystère"3:3510Robert le Diable: Act III. "Qu'a-t-elle donc?"3:5011Robert le Diable: Act III. "Si j'aurai ce courage?"5:4412Robert le Diable: Act III. "Voici donc les débris du monastère"1:3813Robert le Diable: Act III. "Nonnes, qui reposez"6:1414Robert le Diable: Act III. "Jadis filles du ciel"5:5515Robert le Diable: Act III. "Voici ce lieu témoin"11:45Disc 31Robert le Diable: Act IV. "Douce ivresse la tandresse"3:492Robert le Diable: Act IV. "Mais n'est-ce pas cette jeune"4:313Robert le Diable: Act IV. "Du magique rameau"3:044Robert le Diable: Act IV. "Où suis-je?"6:085Robert le Diable: Act IV. "Robert, toi que j'aime"9:506Robert le Diable: Act IV. "Mon cœur s'émeut"1:297Robert le Diable: Act IV. "Quelle aventure!.."3:278Robert le Diable: Act V. "Malheureux ou coupable"4:259Robert le Diable: Act V. "Dans ce lieu pourquoi me forcer"4:3110Robert le Diable: Act V. "O ciel, qui donc es-tu?"1:1711Robert le Diable: Act V. "Je t'ai trompé, je fus coupable"2:5312Robert le Diable: Act V. "L'arrêt est prononcé"1:3113Robert le Diable: Act V. "À tes lois je souscris"5:1814Robert le Diable: Act V. "Mon fils, ma tendresse assidue"5:1115Robert le Diable: Act V. "Chantez, troupe immortelle"3:342001 · studio album
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Tracklist · 23 tracks · 1:10:40
140 Mélodies no. 12. Mina (Lied des venezianischen Gondoliers)1:49240 Mélodies no. 6. Komm (eigentlich: Du schönes Fischermädchen)2:20340 Mélodies no. 16. Ma barque légère3:54440 Mélodies no. 20. La Fille de l'air3:24540 Mélodies no. 27. Sicilienne3:38640 Mélodies no. 28. Prière d'enfants2:00740 Mélodies no. 29. Le Vœu pendant l'orage6:338Des Schäfers Lied (Hirtenlied)5:469In questa tomba oscura, WoO 133 (2. Fassung)3:2710T'intendo sì, mio cor, op. 82 no. 23:0311Als die Geliebte sich trennen wollte (Empfindungen bei Lydiens Untreue), WoO 1321:4812Seufzer eines Ungeliebten / Gegenliebe, WoO 1185:2813Sehnsucht, WoO 1462:1214An die Geliebte, WoO 140 (2. Fassung)1:1915Arietta (Der Kuß), op. 1281:5916Maigesang, op. 52, no. 42:1217Adelaide, op. 465:1518Sechs Deutsche Lieder, op. 154: 1. Abend-Feier2:0919Sechs Deutsche Lieder, op. 154: 2. Jagdlied2:0220Sechs Deutsche Lieder, op. 154: 3. Töne1:5721Sechs Deutsche Lieder, op. 154: 4. Erlkönig3:2022Sechs Deutsche Lieder, op. 154: 5. Der Spielmann und seine Geige2:5023Sechs Deutsche Lieder, op. 154: 6. Abendstille2:152003 · studio album
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Tracklist · 19 tracks · 1:16:52
1Swan Lake: Scene (Act I)3:102Swan Lake: Waltz (Act I)6:063Swan Lake: Pas de Trois (Act I)7:494Swan Lake: Scene (Act II)3:085Swan Lake: Scene (Act II)6:116Swan Lake: Dances of the Swans; Coda (Act II)2:577Swan Lake: Spanish Dance2:168Swan Lake: Hungarian Dance1:569Swan Lake: Czardas0:5710Swan Lake: Mazurka (Act III)3:2111Swan Lake: Pas de Deux, Variation I, Coda (Act III)3:2112Swan Lake: Dances of the Little Swans (Act IV)5:0713Swan Lake: Final Scene (Act IV)6:2014Giselle (Ballet Suite)11:2015Les Patineurs "The Skaters": I. Allegro moderato et pesante, un poco piu mosso3:4016Les Patineurs "The Skaters": II. Andante espressivo2:2817Les Patineurs "The Skaters": III. Allegro con spirito1:2918Les Patineurs "The Skaters": IV. Allegretto scherzoso1:5619Les Patineurs "The Skaters": V. Allegro con spirito3:202005 · studio album
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Tracklist · 8 tracks · 42:31
1Don Carlo, opera: Ella giammai m'amò9:362Nabucco, opera (Nabucodonosor): Vieni, o Levita!... Tu sul labbro dei veggenti5:463Ernani, opera: Che mai vegg'io... Infelice! e tu credevi3:344Salvator Rosa, opera: Di sposo, di padre le gioie serene5:595Simon Boccanegra, opera: Il lacerato Spirito4:276Les Huguenots, grand opera in 5 acts: Seigneur, rampart et seul soutien - Piff, paff, piff5:567Robert le diable, grand opera in 5 acts: Nonnes, qui reposez3:158La Juive, opera: Si la rigeur3:582006 · studio album
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Tracklist · 42 tracks · 2:26:34
Disc 11Les Huguenots: Akt I. Overtüre4:552Les Huguenots: Akt I. "Lasset uns der Jugend freuen"3:183Les Huguenots: Akt I. "An diesem Ort"1:264Les Huguenots: Akt I. "Freunde, kommt zu Tische"3:375Les Huguenots: Akt I. "Ich ging spazieren einst"2:306Les Huguenots: Akt I. "Ihr Wangenpaar"2:207Les Huguenots: Akt I. "Wer kommt dort denn herein?"3:548Les Huguenots: Akt I. "Mein Freund, irr' ich mich nicht"1:429Les Huguenots: Akt I. "Piff, paff, piff, paff!"2:5410Les Huguenots: Akt I. "Mit dieses Schlosses Herrn"4:5311Les Huguenots: Akt I. "In diesem Schloss, was suchst du"0:4812Les Huguenots: Akt I. "Eine holde, edle Dame"5:0413Les Huguenots: Akt I. "Das Geschick will mit euch"1:3814Les Huguenots: Akt II. "O glucklich Land"4:2815Les Huguenots: Akt II. "Mag man hier Luthers Wort"4:0216Les Huguenots: Akt II. "Dies eine Wortlein: Liebe"2:0717Les Huguenots: Akt II. "Wer kommt denn dort?"2:2518Les Huguenots: Akt II. "Ihr Madchen, kommt!"2:5219Les Huguenots: Akt II. "Wer uns Vertrauen gab"1:0320Les Huguenots: Akt II. "Wer bist du, himmlisch schones Wesen"6:0021Les Huguenots: Akt II. "Erlaubet! Alle Edlen des Land's"1:2222Les Huguenots: Akt II. "Seid mir willkommen hier!"2:4823Les Huguenots: Akt II. "Bei des Konigs teurem Haupt"3:1024Les Huguenots: Akt II. "Nein, langer soll nicht Ungewissheit"3:33Disc 21Les Huguenots: Akt III. "Ruhet aus, liebe Leute"5:052Les Huguenots: Akt III. "Diesen Abend hier am Altar"5:423Les Huguenots: Akt III. "Was vernam ich?"5:174Les Huguenots: Akt III. "Ach, dies Herz, das nur ihn"4:245Les Huguenots: Akt III. "Ach! Du kannst nicht begreifen"3:376Les Huguenots: Akt III. "Ha! Ihm drohen Gefahren"2:067Les Huguenots: Akt III. "Will meinem guten Recht vertrauen!"5:078Les Huguenots: Akt III. "Wie? Ihr auch in Paris?"6:259Les Huguenots: Akt IV. "Ganz allein bin ich nun!"3:0910Les Huguenots: Akt IV. "Vom Krieg, der uns bedroht"4:5911Les Huguenots: Akt IV. "So kann der Konig euch vertrau'n?"4:0512Les Huguenots: Akt IV. "Ruhig, ohne Gerausch"3:2213Les Huguenots: Akt IV. "Ehre dem allgerechten Gott!"6:0514Les Huguenots: Akt IV. "O Gott! Wo eilt ihr hin?"2:1315Les Huguenots: Akt IV. "Zur Rettung aller bin ich erkoren"4:1016Les Huguenots: Akt IV. "Diese Wort deiner Liebe"4:2017Les Huguenots: Akt IV. "Nein, ich darf nicht mehr zaudern"2:0118Les Huguenots: Akt IV. "Flamm' und Schwert sollen sie verheeren"1:382006 · studio album
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Tracklist · 33 tracks · 2:05:31
Disc 11Semiramide Act I: Sinfonia5:562Semiramide Act I: Introduction and Recitativo: Dall'Olimpo a noi scendete3:193Semiramide Act I: March0:524Semiramide Act I: Scene: Dalla Sarmazia sede discendo al grande invito5:565Semiramide Act I: Recitiative after the Introduction: Sogno o son desto?2:136Semiramide Act I: Cavatina: Sperai su questa sponda trovare il mio riposo4:207Semiramide Act I: Recitative after the Cavatina: Signor, perdona se con nome d'amico1:488Semiramide Act I: Recitative: Siam soli, or parlera2:479Semiramide Act I: Duetto: Ella e la fiamma mia. Adoro il suo sembiante7:5410Semiramide Act I: Recitative after the Duetto: La scaltrezza ch val2:1111Semiramide Act I: Recitative and Aria: Mi vedrai con quest'acciaro5:3612Semiramide Act I: Recitative after the Aria: Egli morra, fidati a me1:1813Semiramide Act I: Recitative and Canzonetta (Con variaqzioni): Piu non si tardi4:4914Semiramide Act I: Finale: In lucido cristallo aureo liquore6:0915Semiramide Act I: Finale: Di gioia, di pace, la bella speranza8:2216Semiramide Act I: Finale: Ah balena, minaccia sdegnato2:51Disc 21Semiramide Act II: Recitative: Mirteo non lusingarti - io ben conosco0:452Semiramide Act II: Aria: D'un genio che m'accende tu vuoi ragion da me?2:373Semiramide Act II: Recitative: Vieni Sibari...E dove?2:544Semiramide Act II: Recitative and Duettino - Barbaro, non dolerti, hai tempo ancora5:125Semiramide Act II: Recitative after the Duettino: Cedi il ferro, o t'uccido0:226Semiramide Act II: Recitative and Aria: Io prigioniero?...Se, fremi traditor5:037Semiramide Act II: Recitaive after the Aria: Quanto ti deggio amico1:028Semiramide Act II: Aria: Ah piu soffrir non voglio quel temerario orgoglio2:159Semiramide Act II: Recitative after the Aria - Nol voglio udir. Da questa reggia0:2110Semiramide Act II: Recitative and Duetto - Io partir? Chi l'impone?8:3611Semiramide Act II: Recitative after the Duetto - Ove s'asconde? Che fa Scitalce?2:2212Semiramide Act II: Scene and Rondo - Mirteo, per quanto io tardi6:2013Semiramide Act II: Recitative after the Rondo - A forza io assero vo' del cimento2:5714Semiramide Act II: Scene - Taci. E tempo d'ardir. Popoli, e' vero2:0215Semiramide Act II: Rondo - Se non nacqui al miglior sesso10:5316Semiramide Act II: Recitative after the Rondo - Oh Dio! Tamiri0:3117Semiramide Act II: Finale - Soavi accenti, novi contenti4:582009 · studio album
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Tracklist · 40 tracks · 2:43:40
Disc 11Les Huguenots: Act I. Prelude4:512Les Huguenots: Act I. Nei bei di di giovinezza4:203Les Huguenots: Act I. Qui sotto il ciel della Turenna1:334Les Huguenots: Act I. Piace della mensa1:445Les Huguenots: Act I. Versate in abbondanza1:526Les Huguenots: Act I. Non lungi dalle torri... Bianca al par5:087Les Huguenots: Act I. Qual mai strana figura3:308Les Huguenots: Act I. Ma che? Ben osservando1:309Les Huguenots: Act I. Piff, paff, piff, paff!2:5710Les Huguenots: Act I. Del castello al Signor1:2711Les Huguenots: Act I. L'avventura è singolare2:5812Les Huguenots: Act I. Scioglier si dee l'imen2:0513Les Huguenots: Act I. Vaga donna illustre e cara3:1414Les Huguenots: Act I. Talor soverchio merto6:1115Les Huguenots: Act I. Lieto suol della Turrena3:5116Les Huguenots: Act I. Che la lotta fatal3:5317Les Huguenots: Act I. Chi giunge qui2:25Disc 21Les Huguenots: Act I. Chorus2:342Les Huguenots: Act I. Raul, la vostra fè4:023Les Huguenots: Act I. Scender nel mio petto6:324Les Huguenots: Act I. Per l'onor, per La fè degli avi miei6:325Les Huguenots: Act II. Ecco il giorno di festa2:236Les Huguenots: Act II. Vergin del cielo2:087Les Huguenots: Act II. Su venite, siamo qua3:458Les Huguenots: Act II. Per compire un voto di pietà3:249Les Huguenots: Act II. Tornate alla vostra magion3:1010Les Huguenots: Act II. Nell'orror di cupa notte2:4911Les Huguenots: Act II. Ah! L'infido! Quest' anima amante3:4012Les Huguenots: Act II. Tu m'intendesti? ... Addio3:29Disc 31Les Huguenots: Act II. Su, su Marcel8:592Les Huguenots: Act II. Alt, olà; rispettate di Novarra la Regine5:493Les Huguenots: Act III. Alfin son sola3:114Les Huguenots: Act III. Di Caterina un cenno2:365Les Huguenots: Act III. La causa è santa1:546Les Huguenots: Act III. Su voi fidar puo il re?3:157Les Huguenots: Act III. E voi che rispondeste3:318Les Huguenots: Act III. Gloria a Dio vendicatore5:389Les Huguenots: Act III. Raul.. Ove vai tu?1:5110Les Huguenots: Act III. Stringe il periglio8:3611Les Huguenots: Act III. Non ascolti un suon funebre?20:232011 · studio album
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Tracklist · 26 tracks · 1:11:06
1Le ricordanze3:222De miei giorni (Délire)2:463Il nascere e il fiorire d'una rosa2:364Sceglier fra mille un core1:345Da voi, da voi, cari lumi2:406Giura il nocchier1:537Bei labbri che amore3:428Se non ti moro allato1:569Basta dir ch'io sono amante1:4110La Dame invisible4:4911Rachel à Nephtali5:0812La Ballade de la Reine Marguerite de Valois2:5013Sur le balcon5:0914Le Baptême2:2415La Folle de St Joseph3:4516Chant de mai3:4317Nella3:1818Komm, du schönes Fischermadchen2:0119Die Rose, die Lilie, die Taube, die Sonne1:5820Hör ich das Liedchen klingen1:1421Suleika2:3722Mina (Lied des venezianischen Gondoliers)1:4523Luft von Morgen3:2024Der Garten des Herzens1:0025Scirocco1:3326Frühling im Versteck2:222013 · studio album
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Tracklist · 60 tracks · 3:03:27
Disc 11Robert le diable: Overture3:412Robert le diable, Act 1: "Versez à tasse pleine" (Chorus)4:243Robert le diable, Act 1: "Jadis régnait en Normandie" (Raimbaut)2:464Robert le diable, Act 1: "Qu'on arrête un vassal insolent!" (Robert, Alice, Alberti, Raimbaut)5:195Robert le diable, Act 1: "O mon prince!" (Alice)2:466Robert le diable, Act 1: "Va, dit-elle, va mon enfant" (Alice)3:197Robert le diable, Act 1: "Je n'ai pu fermer da paupière!" (Robert)3:428Robert le diable, Act 1: "Courage! Ta nouvelle conquête est fort bien avec toi" (Bertram)2:149Robert le diable, Act 1: "Le duc de Normandie - Sicilienne" (Bertram)1:2410Robert le diable, Act 1: "Sicilienne - O fortune à ton caprice" (Robert)2:4411Robert le diable, Act 1: "J'ai perdu - Ma revanche!" (Robert)3:1012Robert le diable, Act 1: "Malheur sans égal!" (Robert)2:1413Robert le diable, Act 2: "Entr'acte - Que je hais les grandeurs" (Isabelle)2:5814Robert le diable, Act 2: "En vain j'espère un sort prospère" (Isabelle)3:3415Robert le diable, Act 2: "Approchons sans frayeur!" (Chorus)1:3316Robert le diable, Act 2: "Idole de ma vie" (Isabelle)2:4317Robert le diable, Act 2: "Courage! allons montrez-vous à ses yeux" (Alice)0:4118Robert le diable, Act 2: "Avec bonté voyez ma peine" (Robert, Isabelle)4:0919Robert le diable, Act 2: "Mon coeur s'élance et palpite" (Isabelle, Robert)2:0020Robert le diable, Act 2: "Oui! dans ces combats guerriers" (Robert)1:3221Robert le diable, Act 2: Ballet8:0122Robert le diable, Act 2: "Quand tous nous chevaliers" (Herald)2:1723Robert le diable, Act 2: "Voici le signal des combats" (Chorus)4:12Disc 21Robert le diable, Act 3: "Du rendez-vous voici l'heureux instant" (Raimbaut)2:102Robert le diable, Act 3: "Ah! l'honnête homme!" (Bertram, Raimbaut)5:473Robert le diable, Act 3: "Encore un de gagné!…O mon fils!" (Bertram)1:164Robert le diable, Act 3: "La Valse infernale…Raimbaut! dans ce lieu solitaire" (Alice)5:465Robert le diable, Act 3: "Quand je quittai la Normandie" (Alice)2:266Robert le diable, Act 3: "O ciel le bruit redouble" (Alice)2:227Robert le diable, Act 3: "L'arrêt est prononcé!" (Bertram)1:248Robert le diable, Act 3: "Mais Alice, qu'as-tu donc!" (Alice, Bertram)6:599Robert le diable, Act 3: "Fatal moment, cruel mystère" (Alice, Bertram, Robert)3:2410Robert le diable, Act 3: "Qu'a-t'elle donc?" (Robert)3:2411Robert le diable, Act 3: "Si j'aurai ce courage?" (Robert, Bertram)4:3212Robert le diable, Act 3: "Voici donc les débris du monastère" (Bertram)1:1913Robert le diable, Act 3: "Nonnes, qui reposez" (Bertram)2:4514Robert le diable, Act 3: Procession of nuns2:4715Robert le diable, Act 3: "Jadis filles du ciel" (Bertram)1:1116Robert le diable, Act 3: Baccanale4:0217Robert le diable, Act 3: "Voici ce lieu témoin" (Robert)2:4218Robert le diable, Act 3: Air de ballet3:3119Robert le diable, Act 3: "Il est à nous!" (Chorus)1:07Disc 31Robert le diable, Act 4: "Noble et belle Isabelle…Douce ivresse la tandresse" (Chorus)3:542Robert le diable, Act 4: "Mais n'est-ce pas cette jeune étrangère" (Isabelle)2:323Robert le diable, Act 4: "Frappez les airs, cris d'allègresse" (Chorus)1:494Robert le diable, Act 4: "Du magique rameau" (Robert)1:135Robert le diable, Act 4: "Ah! qu'elle este belle!" (Robert)1:496Robert le diable, Act 4: "Ou suis-je?" (Isabelle)0:507Robert le diable, Act 4: "Grand Dieu, toi qui voit mes alarmes" (Isabelle, Robert)4:548Robert le diable, Act 4: "Robert, toi que j'aime" (Isabelle)5:489Robert le diable, Act 4: "Mon coeur s'émeut" (Robert)1:1110Robert le diable, Act 4: "Quelle aventure!" (Chorus)2:4711Robert le diable, Act 5: "Malheureux ou coupable" (Chorus of basses)4:1812Robert le diable, Act 5: "Dans ce lieu pourquoi me forcer" (Bertram)4:3413Robert le diable, Act 5: "O ciel, qui donc es-tu?" (Robert)1:0814Robert le diable, Act 5: "Je t'ai trompé, je fus coupable" (Bertram)2:2415Robert le diable, Act 5: "L'arrêt est prononcé" (Robert)1:2616Robert le diable, Act 5: "A tes lois je soucris" (Robert)4:4417Robert le diable, Act 5: "Mon fils, ma tendresse assidue" (Robert)5:1018Robert le diable, Act 5: "Chantez, troupe immortelle" (Chorus)2:392014 · studio album
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Tracklist · 17 tracks · 1:09:40
1Les Huguenots, Act III: Danse bohémienne4:472Robert le diable, Act II: Pas de cinq9:253Robert le diable, Act III: Ballet des nonnes. Les feux follets et procession des nonnes3:504Robert le diable, Act III: Ballet des nonnes. Bacchanale5:005Robert le diable, Act III: Ballet des nonnes. Premier air de ballet. Seduction par l'ivresse2:216Robert le diable, Act III: Ballet des nonnes. Deuxième air de ballet. Seduction par le jeu3:207Robert le diable, Act III: Ballet des nonnes. Troisième air de ballet. Seduction par l'amour2:348Robert le diable, Act III: Ballet des nonnes. Finale1:409L'Etoile du nord, Act II: Waltz3:3210L'Etoile du nord, Act II: Chanson de cavalerie1:1811L'Etoile du nord, Act I: Prayer2:2112L'Etoile du nord: Entr'acte to Act III2:0813Le Prophète, Act III: Ballet des patineurs. Waltz1:3714Le Prophète, Act III: Ballet des patineurs. Redowa7:0915Le Prophète, Act III: Ballet des patineurs. Quadrilles des patineurs4:4616Le Prophète, Act III: Ballet des Patineurs. Galop5:0317L' Africaine, Act IV: Marche indienne8:492014 · studio album
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Tracklist · 45 tracks · 4:15:14
Disc 11L'Africaine: Overture4:172L'Africaine, Act I: Scene and Romance. Anna, qu'entends-je (Ines)9:153L'Africaine, Act I: Mon père, par votre ordre (Ines, Don Diego, Don Pedro)7:174L'Africaine, Act I: Dieu que le monde rêvere (Don Pedro, Don Diego, The Inquisitor, Chorus)5:535L'Africaine, Act I: J'ai vu, nobles seigneurs (Vasco, Don Alvar, The Inquisitor)5:236L'Africaine, Act I: Un mot encore (Vasco, The Inquisitor, Don Diego, Don Pedro, Chorus)1:077L'Africaine, Act I: Esclaves, approchez! (Don Pedro, Don Diego, Nelusko, Selika, Don Alvar)1:318L'Africaine, Act I: Mais parle donc (Vasco, Selika, Nelusko, Don Pedro)3:559L'Africaine, Act I: Il faut avec ardeur seconder sa vaillance! (Don Alvar, Don Diego, Chorus, The Inquisitor)5:3510L'Africaine, Act I: Le conseil souverain (Don Pedro, Vasco, The Inquisitor, Chorus, Don Diego, Don Alvar)8:0411L'Africaine, Act II: Vogue, mon beau navire (Vasco, Selika)5:1712L'Africaine, Act II: Sur mes genoux, fils du soleil (Selika, Vasco)6:1713L'Africaine, Act II: Nelusko! (Selika, Nelusko, Vasco)12:21Disc 21L'Africaine, Act II: Le maitre a-t-il faim? (Selika, Vasco)9:382L'Africaine, Act II: On nous l'avait bien dit! (Don Pedro, Vasco, Ines, Selika, Anna, Don Alvar, Nelusko)5:413L'Africaine, Act II: Marche conclu! (Don Pedro, Selika, Anna, Don Alvar, Nelusko, Vasco, Ines)7:594L'Africaine, Act III: Entr'acte3:475L'Africaine, Act III: Le rapide et leger navire (Companions of Ines)3:306L'Africaine, Act III: Debout matelots (Sailors)2:357L'Africaine, Act III: O grand Saint Dominique (Sailors, Ines, Anna, Companions of Ines)3:598L'Africaine, Act III: Il faut du vin au matelot (A Sailor, Sailors, Ines)3:289L'Africaine, Act III: Ah! C'est vous Don Alvar? (Don Pedro, Don Alvar, Sailors, Nelusko)2:4810L'Africaine, Act III: Hola! Matelots, le vent change! (Nelusko, Don Alvar, Don Pedro, Chorus)6:0711L'Africaine, Act III: Tralalala! Ecoutez! (Nelusko, Sailors, Don Pedro)4:4312L'Africaine, Act III: Un navire, portant pavillon portugais (A Sailor, Nelusko, Don Alvar, Vasco, Don Pedro, Sailors)10:2613L'Africaine, Act III: Au mat du vaisseau qu'on l'attache (Don Pedro, Vasco, Selika, Ines, Nelusko, Chorus, Anna, Don Alvar)4:1514L'Africaine, Act III: Qu'on l'entraine a l'instant au fond de ce vaisseau! (Don Pedro, Don Alvar, Ines, Selika, Nelusko)3:3915L'Africaine, Act III: Ah! S'il ne fallait que donner ma vie (Nelusko, Selika, Don Pedro)3:0216L'Africaine, Act III: A moi, fils de Shiva! (Nelusko, Indians)2:40Disc 31L'Africaine, Act IV: Entre'acte and Indian March8:492L'Africaine, Act IV: Nous jurons par Brama, par Vishnou, par Shiva (The Grand Priest of Brahma, Indians, Nelusko, Selika, A Priest, Sacrificers)5:403L'Africaine, Act IV: O ciel! Que vois-je? (Vasco, Indians)7:154L'Africaine, Act IV: Arretez! (Selika, Vasco, Nelusko, The Grand Priest of Brahma, Indians)3:385L'Africaine, Act IV: L'avoir tant adorée! (Nelusko, Indians, Selika, Vasco, The Grand Priest of Brahma)5:286L'Africaine, Act IV: Brahma! (The Grand Priest of Brahma, Indians, Selika, Vasco)4:047L'Africaine, Act IV: L'hymen que ton salut me force de souscrire (Selika, Vasco, The Grand Priest of Brahma, Indians)11:398L'Africaine, Act IV: Triple divinité, redoutable au parjure (The Grand Priest of Brahma, Indians, Selika, Ines, Portuguese Women)7:16Disc 41L'Africaine, Act V: Entr'acte, Recitative and Aria. Là-bas, sous l'arbre noir (Ines)3:032L'Africaine, Act V: Fleurs nouvelles, arbres nouveaux (Ines)3:353L'Africaine, Act V: Ne m'abuse-je pas? (Ines, Vasco, Selika)3:164L'Africaine, Act V: Avant que ma vengeance ordonne ton supplice (Selika, Ines, Nelusko)12:275L'Africaine, Act V: D'ici je vois la mer immense et sans limite (Selika, Chorus)14:196L'Africaine, Act V: Vasco! Te voila donc! (Selika)6:137L'Africaine, Act V: C'est ici le sejour (Chorus of The Breezes, Selika)1:268L'Africaine, Act V: Final Scene2:37Overtures and Entr'actes from the French Operas
2014 · studio album
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Tracklist · 17 tracks · 1:11:12
1Robert le Diable: Overture3:212L'étoile du Nord: Overture9:093Les Huguenots: Overture4:464Les Huguenots, Act I: Orgie3:385Les Huguenots, Act II: Entr'acte2:296Les Huguenots, Act V: Entr'acte0:397Les Huguenots, Act V: Ballet2:038L'Africaine: Overture4:339L'Africaine, Act II: Entr'acte1:3110L'Africaine, Act III: Entr'acte3:4411L'Africaine, Act V: Entr'acte1:2312L'Africaine, Act V: Grand scène du mancenillie1:4213Dinorah, "Le pardon de Ploërmel": Overture13:1614Dinorah, "Le pardon de Ploërmel", Act II: Entr'acte2:5315Dinorah, "Le pardon de Ploërmel", Act III: Entr'acte1:4416Le Prophète: Overture11:0517Le Prophète, Act IV: Coronation March3:162016 · studio album
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Tracklist · 35 tracks · 2:14:04
Disc 11Dinorah, Act I: Overture - Salve! Salve!13:292Dinorah, Act I: Le jour radieux4:173Dinorah, Act I: Bellah!7:504Dinorah, Act I: Air de cornemuse0:545Dinorah, Act I: Diantre!0:266Dinorah, Act I: Dieu nous donne à chacun en partage2:377Dinorah, Act I: Hein?0:228Dinorah, Act I: Ah! Encore!8:339Dinorah, Act I: Holà! Père Alain!1:4710Dinorah, Act I: Ô puissante magie!4:4211Dinorah, Act I: C'est moi2:2812Dinorah, Act I: Un trésor!3:3213Dinorah, Act I: Ce tintement4:27Disc 21Dinorah, Act II: Entracte1:362Dinorah, Act II: Qu'il est bon2:023Dinorah, Act II: Me voici!3:574Dinorah, Act II: Comme cette nuit est lente à se dissiper!10:365Dinorah, Act II: Avance donc!0:436Dinorah, Act II: Ah! Que j'ai froid!2:407Dinorah, Act II: C'est toi, sonneur?0:558Dinorah, Act II: Sombre destinée!3:069Dinorah, Act II: Le traître!0:1410Dinorah, Act II: Stt!4:4011Dinorah, Act II: Mais, je te répète1:3012Dinorah, Act II: Est-ce une ombre7:5613Dinorah, Act III: Entracte1:5014Dinorah, Act III: En chasse!2:5615Dinorah, Act III: Les blés son bons à faucher2:4016Dinorah, Act III: Sous les genevriers3:1017Dinorah, Act III: Bref, nous retrouvons3:4518Dinorah, Act III: Comment?1:0619Dinorah, Act III: Pouvait-on prévoir0:2620Dinorah, Act III: Et maintenant, mélasse!5:0621Dinorah, Act III: Dieu!0:5122Dinorah, Act III: Un rêve!16:552016 · studio album
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Tracklist · 13 tracks · 58:05
1Hallelujah6:332Psalm 919:373Cantique7:254Pater Noster4:195Geistliche Gesänge: No. 1,3:216Geistliche Gesänge: No. 2,2:257Geistliche Gesänge: No. 3a,1:168Geistliche Gesänge: No. 3b, Das Lied2:479Geistliche Gesänge: No. 4,3:4310Geistliche Gesänge: No. 5,4:4411Geistliche Gesänge: No. 6,4:0012Geistliche Gesänge: No. 7,2:3013An Mozart5:252016 · studio album
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Tracklist · 18 tracks · 1:10:08
1La Marguerite du poète1:202Chant des moissonneurs vendéens2:313Die Rosenblätter1:194Hirtenlied6:165À une jeune mère3:366La Fille de l'air3:297Le Poète mourant7:018À Venezia4:449Le Vœu pendant l'orage7:4210La Barque légère4:1211Sonntagslied4:0812Près de toi5:3813Sicilienne4:0814La Pauvre Louise1:3015Soave istante2:4116Ständchen3:4017Fantasie2:4618Ballade dans la comédie Murillo3:272017 · studio album
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Tracklist · 11 tracks · 1:21:27
1Le prophète: "Mon coeur s'élance et palpite"4:032Robert le Diable: "Robert, toi que j'aime"5:523Alimelek: "Nur in der Dämm'rung Stille"6:184L'Étoile du Nord: "Ah, mon Dieu !... C'est bien l'air que chaque matin"6:585L'africaine: "Là-bas, sous l'arbre noir... Fleurs nouvelles"5:346Il crociato in Egitto: "D'una madre disperata... Con qual gioia"9:217Le pardon de Ploërmel: "Comme cette nuit est lente à se dissiper !... Ombre légère"8:208Ein Feldlager in Schlesien: "Oh Schwester, find' ich dich!... Lebe wohl, geliebte Schwester"6:539Emma di Resburgo: "Sulla rupe triste, sola... Ah questo bacio"6:3910Les Huguenots: "Ô beau pays de la Touraine"12:5511L'africaine: "Anna, qu'entends-je ?... Adieu, mon doux rivage"8:342018 · studio album
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Tracklist · 50 tracks · 3:34:42
Disc 11Le Prophète: Acte premier. Scène I, no. 1 (A) Prélude et chœur pastoral. “La brise est muette”5:002Le Prophète: Acte premier. Scène II, no. 1 (B) Cavatine. “Mon cœur s’élance et palpite” (Berthe)4:583Le Prophète: Acte premier. Scène III, no. 2 Scène (après la Cavatine). “Fidès, ma bonne mère, enfin donc vous voilà!” (Berthe, Fidès)3:064Le Prophète: Acte premier. Scène IV, no. 3 (A) Récitatif. “Quels sont ces hommes noirs aux figures sinistres?” (Fidès, Berthe, Jonas, Zacharie)1:195Le Prophète: Acte premier. Scène IV, no. 3 (B) Le prêche anabaptiste. “Ad nos, ad salutarem undam” (Les trois anabaptistes, Chœur des paysans, Zacharie, Jonas, Mathisen, Premier paysan, Second paysan)7:266Le Prophète: Acte premier. Scène V, no. 4 (A) Récitatif. “Le comte d’Oberthal, le seigneur châtelain!” (Berthe, Oberthal, Les trois anabaptistes, Fidès)2:567Le Prophète: Acte premier. Scène V, no. 4 (B) Romance à deux voix. “Un jour dans les flots de la Meuse” (Berthe, Fidès)5:338Le Prophète: Acte premier. Scène V, no. 5 Récitatif et Final. “Eh quoi! tant de candeur, d’attraits et d’innocence” (Oberthal, Chœur des paysans, Berthe, Fidès)2:399Le Prophète: Acte deuxième. Scène I, no. 6 Valse villageoise. “Valsons toujours” (Chœur, Les trois anabaptistes, Berthe, Jonas, Un soldat, Jean, Un paysan, Zacharie, Mathisen)5:2110Le Prophète: Acte deuxième. Scène II, no. 7 Le récit du songe. “Ami, quel nuage obscurcit ta pensée?” (Zacharie, Jean, Mathisen, Les trois anabaptistes)5:2811Le Prophète: Acte deuxième. Scène II, no. 8 Pastorale. Romance. “Pour ma Berthe, moi, je soupire” (Jean, Les trois anabaptistes, Jonas, Mathisen, Zacharie)5:0212Le Prophète: Acte deuxième. Scène III, no. 9 Scène et morceau d’ensemble. “Ils partent!... grâce au ciel! leur funeste présence” (Jean) / Scène IV. “Ah! Berthe! ma bien aimée! et d’où vient cet effroi?” (Jean, Berthe) / Scène V. “Loin de ces rives”4:0513Le Prophète: Acte deuxième. Scène VI, no. 10 Arioso. “Ah! mon fils! sois béni!” (Fidès)5:0014Le Prophète: Acte deuxième. Scène VIII, no. 11 (A) Scène. “Venez! Entrez! Nous sommes seuls!...” (Jean, Les trois anabaptistes)1:2415Le Prophète: Acte deuxième. Scène VIII, 2 no. 11 (B) Quatuor. “Gémissant sous le joug et sous la tyrannie” (Zacharie, Jean, Jonas, Les trois anabaptistes, Mathisen)11:18Disc 21Le Prophète: Acte troisième. Scène I. no. 12 (A) Entracte1:252Le Prophète: Acte troisième. Scène I. no. 12 (B) Choeur des anabaptistes. “Du sang! que Judas succombe” (Chœur)1:503Le Prophète: Acte troisième. Scène II. no. 12 (C) Récitatif. “Arrêtez!” (Mathisen, Deuxième anabaptiste, Premier anabaptiste)0:274Le Prophète: Acte troisième. Scène III. no. 13 (A) Couplet de Zacharie. “Aussi nombreux que les étoiles” (Zacharie, Chœur des anabaptistes)5:215Le Prophète: Acte troisième. Scène III. no. 13 (B) Scène. “Voici la fin du jour! Nos fidèles soldats” (Mathisen, Zacharie)0:536Le Prophète: Acte troisième. Scène III. no. 14 L’Arrivée des patineurs. “Voici les fermières” (Chœur des anabaptistes)1:427Le Prophète: Acte troisième. Scène III. no. 15 (A) Premier Air de ballet1:318Le Prophète: Acte troisième. Scène III. no. 15 (B) Deuxième Air de ballet1:069Le Prophète: Acte troisième. Scène III. no. 15 (C) Troisième Air de ballet2:4910Le Prophète: Acte troisième. Scène III. no. 15 (D) Quatrième Air de ballet1:4611Le Prophète: Acte troisième. Scène IV. no. 15 (E) Scène (après la danse). “Tu reviens de Munster?” (Zacharie, Mathisen) / Scène V. “Idole populaire!... Fils du Ciel!...” (Zacharie) / Scène VI. “Qui marche là, qui vive?” (Zacharie, Jonas, Oberthal)4:1612Le Prophète: Acte troisième. Scène VI. no. 16 (A) Trio bouffe. “Sous votre bannière” (Oberthal, Jonas, Zacharie)7:2413Le Prophète: Acte troisième. Scène VII. no. 16 (B) Scène. “Quel air pensif et soucieux” (Zacharie, Jean) / Scène VIII. “Où va ce prisonnier?” (Jean, Zacharie) / Scène IX. “Le voilà, celui par qui mes jours” (Jean, Oberthal, Zacharie) / Scène X. “Remparts, que ma pitié n’osait réduire en cendre” (Jean, Oberthal) / Scène XI. “Ô terreur!” (Mathisen, Jean)6:0014Le Prophète: Acte troisième. Scène XII. no. 17 Choeur des soldats révoltés. “Par toi, Munster nous fut promis” (Chœur)1:3315Le Prophète: Acte troisième. Scène XII. no. 18 (A) Scène. “O Qui vous a, sans mon ordre, entraînés aux combats?” (Jean, Premier et Second anabaptistes, Mathisen, Chœur des anabaptistes)3:4416Le Prophète: Acte troisième. Scène XII. no. 18 (B) Prière. “Dieu puissant!” (Jean, Chœur) / Scène XIII. “Que vois-je?... le Ciel s’est ouvert...” (Jean)4:3617Le Prophète: Acte troisième. Scène XIII. no. 19 Hymne triomphal. “Roi du Ciel et des anges” (Jean, Chœur)4:0918Le Prophète: Acte quatrième. Scène I. no. 20 Entracte et chœur des bourgeois. “Courbons notre tête” (Chœur) / Scène II. “Assise sur cette pierre” (Troisième bourgeois)2:3319Le Prophète: Acte quatrième. Scène II. no. 21 Complainte de la mendiante. “Donnez pour une pauvre âme” (Fidès)5:4620Le Prophète: Acte quatrième. Scène II. no. 22 (A) Scène. “C’est l’heure!” (Quatrième bourgeois, Chœur des bourgeois, Fidès) / Scène III. “Un pauvre pèlerin!... la fatigue, mon frère” (Fidès, Berthe)1:0421Le Prophète: Acte quatrième. Scène III. no. 22 (B) Duo. “Pour garder à ton fils le serment qui m’engage” (Berthe, Fidès)11:4622Le Prophète: Acte quatrième. Scène III. no. 23 Marche du sacre2:35Disc 31Le Prophète: Acte quatrième. Scène III. no. 24 Finale (A) Prière et imprécation. “Domine, salvum fac regem nostrum” (Les quatre anabaptistes, Chœur, Fidès)5:022Le Prophète: Acte quatrième. Scène III. no. 24 Finale (B) Chœur d’enfants et chœur général. “Le voilà, le Roi Prophète!” (Chœur d’enfants, Chœur de femmes, Deux enfants, Chœur, Jean, Fidès, Mathisen, Chœur du peuple, Chœur des anabaptistes)7:023Le Prophète: Acte quatrième. Scène III. no. 24 Finale (C) Couplets et morceau d’ensemble. “Hélas! je suis... la pauvre femme...” (Fidès, Deux enfants de chœur, Chœur du peuple, Jonas, Mathisen, Zacharie, Quatre bourgeois, Chœur des anabaptistes)5:314Le Prophète: Acte quatrième. Scène III. no. 24 Finale (D) L’Exorcisme. “Arrêtez!” (Jean, Fidès, Chœur du peuple, Jonas, Mathisen, Zacharie, Chœur des anabaptistes)6:545Le Prophète: Acte cinquième. Scène I. no. 25 Entracte et scène. “Ainsi vous l’attestez?” (Mathisen, Zacharie, Jonas)2:076Le Prophète: Acte cinquième. Scène II. no. 26 (A) Scène. “Ô prêtres de Baal, où m’avez-vous conduite?” (Fidès)2:437Le Prophète: Acte cinquième. Scène II. no. 26 (B) Cavatine. “Ô toi qui m’abandonnes” (Fidès)5:558Le Prophète: Acte cinquième. Scène III. no. 26 (C) Air. “Femme, prosterne-toi devant ton divin maître!” (L’officier, Fidès)4:579Le Prophète: Acte cinquième. Scène IV. no. 27 Scène et Grand Duo. “Ma mère! ma mère!” (Jean, Fidès)10:2110Le Prophète: Acte cinquième. Scène V. no. 28 (A) Scène. “Voici le souterrain ! Et la dalle de pierre!” (Berthe, Jean, Fidès)1:5011Le Prophète: Acte cinquième. Scène VI. no. 28 (B) Trio. “Ah! Combien ma douleur fut amère” (Berthe, Fidès, Jean) / Scène VI. “On t’a trahi!” (L’officier, Jean, Berthe, Fidès)11:5112Le Prophète: Acte cinquième. Scène VI. no. 28 (C) Récitatif. “Morte!... Moi je reste en ces lieux” (Jean, Fidès)0:5313Le Prophète: Acte cinquième. Scène VI. no. 29 (B) Finale. Couplets bachiques. “Versez! que tout respire” (Jean, Chœur, Jonas, Oberthal, Fidès)4:452019 · studio album
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Tracklist · 11 tracks · 1:06:00
1Jephtas Gelübde: Ouverture (Arr. D. Salvi for Piano & Strings)8:312Jephtas Gelübde: Ich will mein junges Leben (Arr. D. Salvi for Voice, Strings & Piano)5:2732 Religiöse Gedichte von Jakob Neus (Arr. D. Salvi for Voice, Strings & Keyboard): No. 1, Gloria in der Höhe4:5242 Religiöse Gedichte von Jakob Neus (Arr. D. Salvi for Voice, Strings & Keyboard): No. 2, Halleluja, der Herr ist da3:495An Gott (Arr. D. Salvi for Voice, Strings & Piano)5:166Prélude - Cantique, tiré de l'Imitation de Jésus-Christ (Arr. D. Salvi for Voice, Organ & Strings)12:527Psalm 124 (Wenn der Herr nicht bei uns wär) [Arr. D. Salvi for Voice, Strings & Piano]5:138Psalm 86 (Lehre, Ewiger, lehre mich deine Wege) [Arr. D. Salvi for Voice, Strings & Piano]4:269Pater noster (Arr. D. Salvi for Voice, Strings & Piano)5:2410Gott und die Natur: No. 7, Es geht aus seinem Strahlentor (Arr. D. Salvi for Voice, Strings & Piano)4:3511Gottergebenheit (Arr. D. Salvi for Voice, Strings & Piano)5:35Giacomo Meyerbeer: Gli Amori di Teolinda (Live at Opera, Lausanne)
2020 · studio album
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Tracklist · 8 tracks · 38:57
1Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes: I. Introduzione (Live at Opera, Lausanne)2:512Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes: II. Cavatine (Live at Opera, Lausanne)5:153Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes: III. Recitativo (Live at Opera, Lausanne)2:304Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes: IV. Allegro moderato (Live at Opera, Lausanne)8:405Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes: V. Coro del Pastori (Live at Opera, Lausanne)2:386Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes: VI. Recitativo (Live at Opera, Lausanne)2:367Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes: VII. Andante con Variazioni (Live at Opera, Lausanne)4:368Gli amori di Teolinda, cantate pastorale pour voix, clarinette et choeur d'hommes: VIII. Allegro molto moderato (Live at Opera, Lausanne)9:512020 · studio album
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Tracklist · 57 tracks · 2:53:43
Disc 11Romilda e Costanza, Sinfonia: Andante - Allegro (Live)7:482Romilda e Costanza, Act I: Tutto è cheto ancor d'intorno (Live)5:513Romilda e Costanza, Act I: Ma s'apre la porta (Live)3:484Romilda e Costanza, Act I: Ma il cannone da lungi rimbomba (Live)3:365Romilda e Costanza, Act I: Sua altezza brama restar solo (Live)2:296Romilda e Costanza, Act I: Giungesti, o caro istante (Live)7:557Romilda e Costanza, Act I: Oh sì. Ancor pochi istanti (Live)2:208Romilda e Costanza, Act I: Gloria all'eroe, d'eroi trionfator (Live)1:599Romilda e Costanza, Act I: Oh padre mio! (Live)1:4410Romilda e Costanza, Act I: Ombra amata (Live)3:5211Romilda e Costanza, Act I: Della gloria il vivo ardore (Live)2:5812Romilda e Costanza, Act I: Signori, cavalieri, amici a me d'intorno (Live)2:1213Romilda e Costanza, Act I: Oh, mio Prence! (Live)0:4914Romilda e Costanza, Act I: Tu sai qual'oggetto (Live)2:0615Romilda e Costanza, Act I: Oh come a quell'aspetto (Live)2:2616Romilda e Costanza, Act I: Che barbaro tormento (Live)4:0917Romilda e Costanza, Act I: Prence, vi lascio, la presenza mia v'è grave (Live)3:2018Romilda e Costanza, Act I: E così da me s'invola! (Live)3:0119Romilda e Costanza, Act I: Tu che vanti il più bel core (Live)2:2220Romilda e Costanza, Act I: Vuoi tu bene al tuo padrone? (Live)3:03Disc 21Romilda e Costanza, Act I: Di tanti popoli sacro al destino (Live)6:232Romilda e Costanza, Act I: Segreto fremito, ignoto palpito (Live)6:423Romilda e Costanza, Act I: Oh come palpiti, povero core! (Live)2:084Romilda e Costanza, Act I: Ah! Vittoria! (Live)1:185Romilda e Costanza, Act I: Sacro alle Eumenidi giorno terribile! (Live)3:446Romilda e Costanza, Act II: Sarà l'ultima volta! (Live)1:347Romilda e Costanza, Act II: Battete allegri i cimbali (Live)2:388Romilda e Costanza, Act II: Se nel mondo v'è un uomo contento (Live)3:199Romilda e Costanza, Act II: Ma, cos'è questo? (Live)3:2310Romilda e Costanza, Act II: Ecco Sénanges (Live)1:0511Romilda e Costanza, Act II: Odiarlo! E lo poss'io! (Live)2:0312Romilda e Costanza, Act II: Ah! Più non tornerà (Live)4:1513Romilda e Costanza, Act II: E vittima d'amore io morirò (Live)2:3414Romilda e Costanza, Act II: Anche questa è finita (Live)2:5915Romilda e Costanza, Act II: E tanto dunque l'ami? (Live)1:5416Romilda e Costanza, Act II: L'infedele punir dovrei (Live)5:3317Romilda e Costanza, Act II: Ebben, lo salvarete? (Live)1:4718Romilda e Costanza, Act II: Ah, si salvi il caro oggetto (Live)2:33Disc 31Romilda e Costanza, Act II: Sì, principe (Live)1:242Romilda e Costanza, Act II: Noi c'inchiniamo al grand'Albertone! (Live)1:293Romilda e Costanza, Act II: Chi sta al mondo ne vede di belle (Live)4:564Romilda e Costanza, Act II: Sì, contessa, vedrete, ve lo guiro (Live)2:075Romilda e Costanza, Act II: Caro ben, se vivi ancora (Live)4:286Romilda e Costanza, Act II: Ciel pietoso, umil t'adoro (Live)3:347Romilda e Costanza, Act II: E adesso (Live)0:428Romilda e Costanza, Act II: Egli sciolto! Ah tradimento! (Live)2:339Romilda e Costanza, Act II: Paventa il mio furore (Live)3:4010Romilda e Costanza, Act II: Ah ch'egli va alla morte! (Live)3:1511Romilda e Costanza, Act II: Ci sono, e la faranno (Live)1:1012Romilda e Costanza, Act II: Ombre ferali della morte (Live)4:2413Romilda e Costanza, Act II: Se il fato barbaro a me t'invola (Live)3:0514Romilda e Costanza, Act II: Fra l'ombre ci guida di sorte il favor (Live)1:5615Romilda e Costanza, Act II: O mio Teobaldo! (Live)0:4116Romilda e Costanza, Act II: Volate a sua difesa (Live)6:1817Romilda e Costanza, Act II: Altezza, io v'ho obbedito, ma! (Live)1:1818Romilda e Costanza, Act II: Ombra adorata di Teobaldo (Live)1:1519Romilda e Costanza, Act II: Già per noi tornò il ciel sereno (Live)1:482022 · studio album
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Tracklist · 49 tracks · 3:36:42
1Robert le Diable: Ouverture3:272Robert le Diable, Act I: Introduction. Versez à tasse pleine6:083Robert le Diable, Act I: Ballade et Récit. Jadis régnait en Normandie6:184Robert le Diable, Act I: Récit. Ô mon prince ! Ô mon maître !2:445Robert le Diable, Act I: Romance. Va, dit-elle, va, mon enfant6:506Robert le Diable, Act I: Récit. Je n’ai pu fermer sa paupière !6:547Robert le Diable, Act I: Scène. Le duc de Normandie, à vos plaisirs1:238Robert le Diable, Act I: Sicilienne. Ô fortune ! à ton caprice3:109Robert le Diable, Act I: Scène du Jeu. Quinze !4:4110Robert le Diable, Act II: Entracte et Récit. Où me cacher, quelle horreur !3:1911Robert le Diable, Act II: Prière et Marche. Oh ! ma mère, ombre si tendre8:2712Robert le Diable, Act II: Récit et Air. Que je hais les grandeurs12:3513Robert le Diable, Act II: Récit. Courage ! allons, montrez-vous à ses yeux0:2514Robert le Diable, Act II: Duo. Avec bonté voyez ma peine6:0115Robert le Diable, Act II: Récit. À toi, Robert de Normandie2:5316Robert le Diable, Act II: Chœur dansé. Accourez au-devant d’elle3:1317Robert le Diable, Act II: Pas de cinq3:2218Robert le Diable, Act II: Récit et Finale. Quand tous nos chevaliers2:2519Robert le Diable, Act II: Finale. La trompette guerrière5:2620Robert le Diable, Act III: Entracte, Récit et Duo. Du rendez-vous voici l’heureux instant8:4121Robert le Diable, Act III: Valse infernale. Encore un de gagné !4:4122Robert le Diable, Act III: Récit. Raimbaut ! Raimbaut ! dans ce lieu solitaire7:3623Robert le Diable, Act III: Scène. Ô ciel ! le bruit redouble3:4524Robert le Diable, Act III: Duo. Mais Alice, qu’as-tu donc ?7:0925Robert le Diable, Act III: Trio. Fatal moment, cruel mystère4:1526Robert le Diable, Act III: Récit. Qu’a-t-elle donc ?3:1527Robert le Diable, Act III: Duo. Si j’aurai ce courage ?5:0628Robert le Diable, Act III: Récit et Évocation. Voici donc les débris du monastère antique5:2129Robert le Diable, Act III: Procession des Nonnes2:5830Robert le Diable, Act III: Récit. Jadis fille, du ciel, aujourd’hui de l’enfer1:1431Robert le Diable, Act III: Bacchanale4:1232Robert le Diable, Act III: Récit. Voilà ce lieu, témoin d’un terrible mystère !2:2733Robert le Diable, Act III: Séduction par le jeu3:4234Robert le Diable, Act III: Séduction par l’amour3:0735Robert le Diable, Act III: Chœur dansé. Il est à nous.1:2436Robert le Diable, Act IV: Entracte et Chœur. Noble et belle, Isabelle est sensible à vos vœux !4:4137Robert le Diable, Act IV: Récit et Chœur. Ciel !3:3538Robert le Diable, Act IV: Récit. Du magique rameau qui s’abaisse sur eux3:5939Robert le Diable, Act IV: Duo. Grand Dieu ! toi qui vois mes alarmes4:2740Robert le Diable, Act IV: Cavatine. Robert, toi que j’aime7:0241Robert le Diable, Act IV: Duo. Mon cœur s’émeut à cette voix touchante.1:0142Robert le Diable, Act IV: Chœur et Strette. Quelle aventure ! est-ce un prestige ?3:1143Robert le Diable, Act V: Entracte et Chœur. Malheureux ou coupable4:3744Robert le Diable, Act V: Scène et Prière. Eh quoi !5:5745Robert le Diable, Act V: Récit. Je conçois que ces chants puissent troubler ton âme.2:0846Robert le Diable, Act V: Air. Je t’ai trompé, je fus coupable2:2847Robert le Diable, Act V: Récit. L’arrêt est prononcé, l’enfer est le plus fort1:3348Robert le Diable, Act V: Trio. Que faut-il faire ?10:4849Robert le Diable, Act V: Chœur aérien. Chantez, troupe immortelle2:412022 · studio album
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Tracklist · 28 tracks · 1:15:43
1Der Admiral, oder Der verlorene Prozess: Overture4:312Der Fischer und das Milchmädchen: Ouvertüre3:393Der Fischer und das Milchmädchen: Tableau 1. Allegretto galante1:114Der Fischer und das Milchmädchen: Tableau 2. Air de Chasse4:015Der Fischer und das Milchmädchen: Tableau 3. Allegro furioso –0:596Der Fischer und das Milchmädchen: Tableau 4. Allegretto scherzando0:497Der Fischer und das Milchmädchen: Tableau 5. Corps de ballet0:588Der Fischer und das Milchmädchen: Tableau 6. Air de Chassé par Écho2:409Der Fischer und das Milchmädchen: Tableau 7. Allegretto galante1:1210Der Fischer und das Milchmädchen: Tableau 8. Andantino1:3611Der Fischer und das Milchmädchen: Tableau 9a. Pas de deux3:0112Der Fischer und das Milchmädchen: Tableau 9b. Andantino pastorale1:2113Der Fischer und das Milchmädchen: Tableau 10. Allemande4:0714Der Fischer und das Milchmädchen: Tableau 11. Allegretto ma non troppo1:2715Der Fischer und das Milchmädchen: Tableau 12. Andantino1:3316Der Fischer und das Milchmädchen: Tableau 13. Molto moderato1:1017Der Fischer und das Milchmädchen: Tableau 14. Pas de deux –3:3918Der Fischer und das Milchmädchen: Tableau 15. Allegro furioso1:3819Der Fischer und das Milchmädchen: Tableau 16. Andante agitato1:1420Der Fischer und das Milchmädchen: Tableau 17. Vivace0:5921Der Fischer und das Milchmädchen: Tableau 18. Corps de ballet –2:0122Der Fischer und das Milchmädchen: Tableau 19. Pas seul2:2023Der Fischer und das Milchmädchen: Tableau 20. Pas de trois3:3424Der Fischer und das Milchmädchen: Tableau 21. Finale, ou Contredanse générale4:1125Das Brandenburger Tor: Einleitung3:2726Wirt und Gast, oder Aus Scherz Ernst: Overture6:4427Wirt und Gast, oder Aus Scherz Ernst: Act II: Türkischer Marsch2:1528Romilda e Costanza: Overture9:262024 · studio album
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Tracklist · 46 tracks · 3:20:37
Disc 11L'africaine "Vasco da Gama" (J. Selk Critical Edition): Ouverture4:402L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act I: Anna, qu'entends - je3:493L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act I: Adieu, mon doux rivage4:584L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act I: Mon père, par votre ordre5:245L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act I: Dieu que le monde révère5:086L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act I: J'ai vu, nobles seigneurs5:377L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act I: Un mot encore avant que vous délibériez1:038L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act I: Esclaves, approchez!1:279L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act I: Mais parle donc, parle, Sélika2:4810L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act I: Il faut avec ardeur seconder sa vaillance!5:3611L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act I: Le conseil souverain7:20Disc 21L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act II: Vogue, vogue, mon beau navire4:232L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act II: Sur mes genoux, fils du soleil3:383L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act II: Nélusko! - Pour l'honneur de notre souveraine2:204L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act II: Peut - être! - Achève!3:155L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act II: Le maître a-t-il faim? - Terrible et fatal promontoire5:386L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act II: On nous l'avait bien dit!14:217L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act III: Entr'acte3:218L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act III: Le rapide et léger navire3:359L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act III: Debout matelots, l'équipage debout!2:4210L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act III: L'appel au déjeuner0:5111L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act III: Il faut du vin - Adieu, rives du Tage2:5112L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act III: Ah! C'est vous Don Alvar? - Holà! matelots, le vent change!6:0213L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act III: Tra, la, la. - Ah! Vous bravez, insensés que vous êtes2:2014L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act III: Un navire, portant pavillon portugais - Eh quoi, d'une perte certaine8:4615L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act III: Au mât du vaisseau qu'on l'attache1:2616L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act III: Pour Inès - Vile esclave - Dans l'effroi2:5117L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act III: Qu'on l'entraine à l'instant au fond de ce vaisseau!6:20Disc 31L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act IV: Entr'acte - Entrée de la Reine - Marche indienne4:252L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act IV: Nous jurons par Brahma - Jamais, tu l'as juré4:023L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act IV: Soleil, qui sur nous1:034L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act IV: Ô ciel! Que vois-je?7:185L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act IV: Sélika! - Vouloir le soustraire au supplice!3:436L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act IV: L'avoir tant adorée!4:067L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act IV: Brahma! Vishnou! Shiva! Gloire à vous!5:218L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act IV: Où suis-je? Quelle extase m'inonde de plaisir?3:549L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act IV: Toi? Mon amant?6:1810L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act V: Là-bas, sous l'arbre noir2:5311L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act V: Ne m'abuse-je pas?3:0312L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act V: Avant que ma vengeance ordonne ton supplice8:0513L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act V: Emmenez cette femme!3:3214L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act V: D'ici je vois la mer3:4115L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act V: La haine m'abandonne2:4716L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act V: Ô riante couleur! - Quels célestes accords!10:1617L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act V: C'est ici le séjour1:1318L'africaine "Vasco da Gama" (J. Selk Critical Edition), Act V: Ah! Je veille encore, je suis sur terre! - C'est ici le séjour - Ô douleur!2:27— · studio album
Album · 4
| Cover | Year | Title | Notes | First release |
|---|---|---|---|---|
| 1984 | Pomp and Circumstance: Magnificent MarchesSearch SpotifySearch YouTube MusicTracklist · 10 tracks · 49:431Pomp and Circumstance March no. 1 in D major6:38 2March from "The Love of Three Oranges"1:45 3Symphonie Fantastique: March to the Scaffold4:57 4La Prophète: Coronation March3:25 5Athalia: War March of the Priests5:26 6Pomp and Circumstance March no. 4 in G major4:55 7March from "The Nutcracker"2:32 8Slavonic March10:45 9Pines of Rome - The Pines of the Appian Way4:34 10The Damnation of Faust: Hungarian March4:46 | Compilation | 1984 | |
| 2018 | Margherita d’AnjouSearch SpotifySearch YouTube MusicTracklist · 34 tracks · 2:34:28Disc 1 1Margherita d’Anjou: Sinfonia militare (live)6:18 2Margherita d’Anjou, Atto I: “Quattro! Cinque!” (live)5:43 3Margherita d’Anjou, Atto I: “Miei fedeli, queste prove” (live)4:12 4Margherita d’Anjou, Atto I: “Ma qual suono da lunge si ascolta?” (live)3:43 5Margherita d’Anjou, Atto I: “Profittiam del tumulto – Si signori” (live)2:01 6Margherita d’Anjou, Atto I: “Alfin respiro! I voti miei son paghi” (live)2:23 7Margherita d’Anjou, Atto I: “Ah! Tu non sai com’ io l’adoro” (live)8:17 8Margherita d’Anjou, Atto I: “Insomma, mia signora” (live)0:58 9Margherita d’Anjou, Atto I: “Fra gli applausi e lieti evviva” (live)2:14 10Margherita d’Anjou, Atto I: “Regina, al nostro, oprar” (live)2:16 11Margherita d’Anjou, Atto I: “E riposta in questi accenti” (live)8:52 12Margherita d’Anjou, Atto I: “Maesta, due Francesi” (live)6:15 13Margherita d’Anjou, Atto I: “Si mesto e pensoso” (live)8:17 14Margherita d’Anjou, Atto I: “E Carlo ancor non torna?” (live)2:39 15Margherita d’Anjou, Atto I: “Fra quest’ombre, e queste rupi” (live)7:02 16Margherita d’Anjou, Atto I: “Zitto, zitto” (live)5:04 Disc 21Margherita d’Anjou, Atto I: “Crudel cimento!” (live)3:03 2Margherita d’Anjou, Atto I: “Fissami gli occhi in fronte” (live)7:19 3Margherita d’Anjou, Atto I: “Ma più d’appresso squilla la tromba” (live)3:43 4Margherita d’Anjou, Atto II: “Che bell’alba!” (live)6:07 5Margherita d’Anjou, Atto II: “Dolci alberghi di pace” (live)4:48 6Margherita d’Anjou, Atto II: “Che mai giova il serto?” (live)3:57 7Margherita d’Anjou, Atto II: “Un soldato! Un nemico!” (live)4:44 8Margherita d’Anjou, Atto II: “Ritiratevi, amici, ognun di voi” (live)3:25 9Margherita d’Anjou, Atto II: “Ah! Si. Pur troppo, io sono il più infelice” (live)3:05 10Margherita d’Anjou, Atto II: “Tu, che le vie segrete” (live)4:40 11Margherita d’Anjou, Atto II: “Eccomi di chirurgo e di dottore” (live)3:17 12Margherita d’Anjou, Atto II: “Pensa e guarda, amico, all’erta!” (live)5:27 13Margherita d’Anjou, Atto II: “Ecco, Alterzza, a voi davanti” (live)4:08 14Margherita d’Anjou, Atto II: “Oh! Rabbia! Oh furore!” (live)6:20 15Margherita d’Anjou, Atto II: “Che diamine, signora?” (live)1:22 16Margherita d’Anjou, Atto II: “O ciel! Qual mai contrasto” (live)1:59 17Margherita d’Anjou, Atto II: “Mio pianto rasciuga” (live)6:15 18Margherita d’Anjou, Atto II: “Ah! Sposo adorabile” (live)4:35 | Live | January 2018 | |
| 2022 | L'Étoile du NordSearch SpotifySearch YouTube MusicTracklist · 39 tracks · 2:53:46Disc 1 1L'étoile du nord: Ouverture9:33 2L'étoile du nord, Act I: Sous cet ombrage2:03 3L'étoile du nord, Act I: Achetez ! Voici, voici !4:38 4L'étoile du nord, Act I: Viens, et pour te payer1:18 5L'étoile du nord, Act I: À la Finlande buvons3:04 6L'étoile du nord, Act I: Eh bien ! Et toi ?2:46 7L'étoile du nord, Act I: Un bon soldat, plein d’ardeur et de cœur5:17 8L'étoile du nord, Act I: Écoutez ! Écoutez !4:54 9L'étoile du nord, Act I: Écoute Georges !1:29 10L'étoile du nord, Act I: Prascovia ! Ma fiancée !3:53 11L'étoile du nord, Act I: Personne !2:23 12L'étoile du nord, Act I: Arrière ! Et tremblez tous a ma voix !7:09 13L'étoile du nord, Act I: De quelle ville es-tu ?8:54 14L'étoile du nord, Act I: Ah ! Quel dommage !5:16 15L'étoile du nord, Act I: Prenez vos habits de fête2:30 16L'étoile du nord, Act I: En sa demeure4:11 17L'étoile du nord, Act I: Marchez, soldats3:30 18L'étoile du nord, Act I: Veille sur eux toujours4:43 Disc 21L'étoile du nord, Act II: Entr’acte et introduction. Valse3:09 2L'étoile du nord, Act II: Assez danse ! Assez valse !2:44 3L'étoile du nord, Act II: Un instant !7:14 4L'étoile du nord, Act II: Assez d'opprobre, assez d'affronts3:49 5L'étoile du nord, Act II: Eh bien ! À ce joyeux repas8:49 6L'étoile du nord, Act II: Gentilles vivandières2:53 7L'étoile du nord, Act II: Sous les remparts du vieux Kremlin2:36 8L'étoile du nord, Act II: Il s'éloigne enfin, tant mieux !3:18 9L'étoile du nord, Act II: Au commandant Péters, le général !2:50 10L'étoile du nord, Act II: Eh bien ? Quel est ce bruit ?2:57 11L'étoile du nord, Act II: Ô ciel, qu'annoncent-ils ?1:57 12L'étoile du nord, Act II: Dieu vengeur, viens !1:33 13L'étoile du nord, Act II: La marche sacrée !5:25 Disc 31L'étoile du nord, Act III: Entr'acte1:33 2L'étoile du nord, Act III: Pour fuir son souvenir7:10 3L'étoile du nord, Act III: Qu'entends-je ? O douleur !0:37 4L'étoile du nord, Act III: Mon devoir est d'apprendre7:26 5L'étoile du nord, Act III: Sur son bras m'appuyant2:18 6L'étoile du nord, Act III: Fusillé !4:08 7L'étoile du nord, Act III: Quel trouble affreux règne en son cœur4:23 8L'étoile du nord, Act III: L'aurore enfin succède19:26 | Live | May 2022 | |
| 2024 | Le ProphèteSearch SpotifySearch YouTube MusicTracklist · 55 tracks · 3:15:37Disc 1 1Le Prophète: Acte I: No. 1a, Prélude et chœur pastoral. “La brise est muette”5:17 2Le Prophète: Acte I: No. 1 bis (A), Cavatine. “Voici l’heure où sans alarmes”3:16 3Le Prophète: Acte I: No. 2, Scène (après la Cavatine). “Fidès, ma bonne mère”3:07 4Le Prophète: Acte I: No. 3a, Récitatif. “Quels sont ces hommes noirs”1:21 5Le Prophète: Acte I: No. 3b, Le Prêche anabaptiste. “Ad nos, ad salutarem undam”3:38 6Le Prophète: Acte I: No. 3b, Le Prêche anabaptiste. “Ainsi ces beaux châteaux?”5:00 7Le Prophète: Acte I: No. 4a, Récitatif. “Le comte d’Oberthal, le seigneur châtelain”2:28 8Le Prophète: Acte I: No. 4b, Romance. “Un jour dans les flots de la Meuse”2:38 9Le Prophète: Acte I: No. 5, Récitatif et Final. “Eh quoi”2:37 10Le Prophète: Acte II: No. 6, Valse villageoise. “Valsons toujours”5:42 11Le Prophète: Acte II: No. 7, Le Récit du songe. “Ami, quel nuage obscurcit ta pensée?”5:23 12Le Prophète: Acte II: No. 8, Pastorale. “Pour Berthe moi je soupire”4:58 13Le Prophète: Acte II: No. 9, Scène. “Il partent!”3:58 14Le Prophète: Acte II: No. 10, Arioso. “Ah! Mon fils”4:08 15Le Prophète: Acte II: No. 11a, Scène. “Ô fureur!”2:34 16Le Prophète: Acte II: No. 11b, Quatuor. “Gémissant sous le joug”6:51 17Le Prophète: Acte II: No. 11b, Quatuor. “Et la couronne”3:36 Disc 21Le Prophète: Acte III: No. 12a, Entracte1:38 2Le Prophète: Acte III: No. 12b, Chœur des anabaptistes. “Du sang!”2:01 3Le Prophète: Acte III: No. 13a, Couplets de Zacharie. “Aussi nombreux”2:33 4Le Prophète: Acte III: No. 13b, Scène. “Voici la fin du jour!”1:07 5Le Prophète: Acte III: No. 14a, L’Arrivée des patineurs. “Voici les fermières”1:54 6Le Prophète: Acte III: No. 14b, Pantomime0:10 7Le Prophète: Acte III: No. 15a, Premier Air de ballet. Valse1:16 8Le Prophète: Acte III: No. 15b, Deuxième Air de ballet. Pas de la Redowa1:01 9Le Prophète: Acte III: No. 15c, Troisième Air de ballet. Quadrille des patineurs1:28 10Le Prophète: Acte III: No. 15d, Quatrième Air de ballet. Galop2:40 11Le Prophète: Acte III: No. 15e, Scène (après la danse). “Livrez vous au repos, frères”2:45 12Le Prophète Acte III: No. 16b, Scène. “Quel air pensif et soucieux”6:37 13Le Prophète: Acte III: No. 17, Chœur des soldats révoltés. “Par toi Münster, nous fut promis”1:42 14Le Prophète: Acte III: No. 18a, Scène. “Qui vous a, sans mon ordre”3:08 15Le Prophète: Acte III: No. 18b, Prière. “Dieu puissant!”4:57 16Le Prophète: Acte III: No. 18c, Récitatif. “Grand Prophète, ton peuple se relève et tu règnes!”1:02 17Le Prophète: Acte III: No. 19, Hymne triomphal. “À Münster! Roi du ciel et des anges”3:56 18Le Prophète: Acte IV: No. 21, Complainte de la mendiante. “Donnez pour une pauvre âme”3:23 19Le Prophète: Acte IV: No. 22a, Scène. “Un pauvre pèlerin!”0:48 20Le Prophète: Acte IV: No. 22b, Duo. “Pour garder à ton fils”7:01 21Le Prophète: Acte IV: No. 22b, Duo. “Un matin”4:06 Disc 31Le Prophète: Acte IV: No. 23, Marche du sacre5:10 2Le Prophète: Acte IV: No. 24a, Finale. Prière et imprécation. “Domine, salvum fac”5:26 3Le Prophète: Acte IV: No. 24b, Chœur d’enfants et chœur général. “Le voilà, le Roi Prophète!”7:20 4Le Prophète: Acte IV: No. 24c, Couplets et morceau d’ensemble. “Je suis, hélas”6:27 5Le Prophète: Acte IV: No. 24d, L’Exorcisme. “Arrêtez!”6:40 6Le Prophète: Acte V: No. 25, Entracte et Scène. “Ainsi vous l’attestez?”2:06 7Le Prophète: Acte V: No. 26a, Scène. “Ô prêtres de Baal”1:46 8Le Prophète: Acte V: No. 26b, Cavatine. “Ô toi qui n’abandonnes”4:05 9Le Prophète: Acte V: No. 26c, Air. “Femme, prosterne-toi”4:33 10Le Prophète: Acte V: No. 27, Scène et Grand Duo. “Ma mère!”3:43 11Le Prophète: Acte V: No. 27, Scène et Grand Duo. “Eh bien!”5:17 12Le Prophète: Acte V: No. 28a, Scène. “Voici le souterrain!”1:44 13Le Prophète: Acte V: No. 28b, Trio. “Ah! Combien ma douleur fut amère”5:25 14Le Prophète: Acte V: No. 28b, Trio. “Ô spectre épouvantable!”6:04 15Le Prophète: Acte V: No. 28c, Récitatif. “Morte! Partez!”0:53 16Le Prophète: Acte V: No. 29a, Finale. Bacchanale. Chœur dansé. “Hourra!”1:57 17Le Prophète: Acte V: No. 29b, Couplets bachiques. “Versez! Que tout respire”5:16 | Live | 28 June 2024 |
Stats & PK
Percentile within all 23,672 published artists.Put Giacomo Meyerbeer head-to-head →
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 59 | 97.7th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 36 | 91.9th |
| Studio albums | 32 | 98.4th |
| Awards recorded | 15 | 99.3th |
| Timeline events | 48 | 98.7th |
| Recording span (years) | -120 | 4.6th |
| Genres | 2 | 74th |
Awards & honours
| Year | Award | Category | Result |
|---|---|---|---|
| 1832 | Knight of the Legion of Honour | won | |
| 1837 | Officer of the Legion of Honour | won | |
| 1840 | Knight Officer of the Order of the Saxe-Ernestine | won | |
| 1840 | Q94694999 | won | |
| 1842 | Pour le Mérite for Sciences and Arts order | won | |
| 1849 | Commander of the Legion of Honour | won | |
| 1850 | Knight I Class of the Saxon Order of Civil Merit | won | |
| 1850 | Knight's Cross of the Order of Franz Joseph | won | |
| 1853 | Bavarian Maximilian Order for Science and Art | won | |
| 1854 | Knight Commander of the Order of the Crown | won | |
| 1854 | Order of the Oak Crown | won | |
| 1855 | Knight Grand Officer of the Order of Albrecht the Bold | won | |
| 1855 | Knight Grand Officer of the Order of the Saxe-Ernestine | won | |
| 1861 | 2nd Class Order of the Crown with the Star | won | |
| — | Pour le Mérite | won |
Where this record comes from
portrait—Wikimedia Commons · Public domain · retrieved 11 October 2026
https://commons.wikimedia.org/wiki/File:Meyerbeer_d%27apr%C3%A8s_P._Petit_b_1865.jpgaliases/urls—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/e2e5fec1-d87b-4b48-81b1-7e9ab074f348discography—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/e2e5fec1-d87b-4b48-81b1-7e9ab074f348core—wikidata · CC0 · retrieved 10 October 2026
https://www.wikidata.org/wiki/Q105237genre—wikidata · CC0 · retrieved 11 October 2026
https://www.wikidata.org/wiki/Q105237seed-list—wikipedia · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Giacomo_Meyerbeerbiography—wikipedia-en · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Giacomo_Meyerbeer
Why this artist is in the database
- List of composers by name
Tier rule: historic figure (59 language versions, career ended)
Image: Au Ménestrel , Paris, 1865. Uploaded, stiched and restored by JLPC · Public domain · Wikimedia Commons
Wikidata: Q105237 · MusicBrainz: e2e5fec1-d87b-4b48-81b1-7e9ab074f348
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