MEYERBEER, GIACOMO Autograph letter about Robert le Diable, written on the night of the première, together with an autograph draft of the cast list for the opera, summer and November 1831 1) autograph letter in French signed (“J. Meyerbeer”), to François Habeneck, the conductor of the Paris Opéra orchestra, expressing his profound appreciation at the standard of performance, which exceeded all his expectations, even though he had already been impressed with the boundless patience and lively interest that the players had shown during the long and arduous rehearsals, 1 page, 4to (c.25.5 x 20cm), watermarked "ALPNE", [Paris], 21 November [18]31“ ...Veuillez être je Vous supplie l'interprete de ma profonde reconnaissance aupres de votre admirable Orchestre dont vous êtes le digne Chef pour le Zèle de la patience sans bornes dont ils ont fait preuve dans les longues & fatigantes répétitions de Robert-le-Diable. . . 2) autograph draft of his proposed cast for Robert le Diable, WITH IMPORTANT DIFFERENCES FROM THE FINAL VERSION, assigning the role of Bertram, Robert’s friend, to the baritone Henri-Bernard Dabadie, and that of Alice to either Wilhelmine Schröder-Devrient or Julie Doras-Gras, 1 page, small 4to (c.14.5 x 17cm), watermarked "J.B", cut down from a larger leaf, summer 1831 “Distribution deffinitive des Roles de Robert-le-Diable”, Robert, Duc de Normandie. -- MM Adolph NourritBertram son ami -- DabadieRamibaud, jongleur fiancé d’Alice -- Lafont…Isabelle, princesse de Sicile -- Mme DamoreauAlice -- Mme Devrient ou Mlle DorusLea -- Mlle Taglioni…” The première of Robert le Diable was one of the great historic occasions in the history of the Paris Opéra, securing Meyerbeer’s reputation among the preeminent composers of his day and laying a cornerstone for a tradition of Grand Opera that was to include Meyerbeer’s Les Huguenots and Verdi’s Don Carlos. Meyerbeer’s proposed cast list is remarkable, dating from earlier in 1831. The composer was at this stage still undecided whether the role of the virtuous peasant girl Alice should go to Julie Dorus-Gras or Wilhelmine Schröder-Devrient, the great soprano that was to inspire Richard Wagner The role was finally assigned to Doras-Gras for the première on 21 November. He also indicates that he wanted the baritone Henri-Bernard Dabadie as the sinister Bertram, but the director of the Opéra, Louis Véron, persuaded him that the role was better suited to the Rossinian basso profondo Nicholas Levasseur and, over the summer of 1831, Meyerbeer made significant alterations to his score to accommodate the change in tessitura. The ballet sections of the opera were celebrated for the dancing nuns, here led by Marie Taglioni, one of the most celebrated ballerinas of the Romantic ballet.
MEYERBEER, GIACOMO Autograph letter about Robert le Diable, written on the night of the première, together with an autograph draft of the cast list for the opera, summer and November 1831 1) autograph letter in French signed (“J. Meyerbeer”), to François Habeneck, the conductor of the Paris Opéra orchestra, expressing his profound appreciation at the standard of performance, which exceeded all his expectations, even though he had already been impressed with the boundless patience and lively interest that the players had shown during the long and arduous rehearsals, 1 page, 4to (c.25.5 x 20cm), watermarked "ALPNE", [Paris], 21 November [18]31“ ...Veuillez être je Vous supplie l'interprete de ma profonde reconnaissance aupres de votre admirable Orchestre dont vous êtes le digne Chef pour le Zèle de la patience sans bornes dont ils ont fait preuve dans les longues & fatigantes répétitions de Robert-le-Diable. . . 2) autograph draft of his proposed cast for Robert le Diable, WITH IMPORTANT DIFFERENCES FROM THE FINAL VERSION, assigning the role of Bertram, Robert’s friend, to the baritone Henri-Bernard Dabadie, and that of Alice to either Wilhelmine Schröder-Devrient or Julie Doras-Gras, 1 page, small 4to (c.14.5 x 17cm), watermarked "J.B", cut down from a larger leaf, summer 1831 “Distribution deffinitive des Roles de Robert-le-Diable”, Robert, Duc de Normandie. -- MM Adolph NourritBertram son ami -- DabadieRamibaud, jongleur fiancé d’Alice -- Lafont…Isabelle, princesse de Sicile -- Mme DamoreauAlice -- Mme Devrient ou Mlle DorusLea -- Mlle Taglioni…” The première of Robert le Diable was one of the great historic occasions in the history of the Paris Opéra, securing Meyerbeer’s reputation among the preeminent composers of his day and laying a cornerstone for a tradition of Grand Opera that was to include Meyerbeer’s Les Huguenots and Verdi’s Don Carlos. Meyerbeer’s proposed cast list is remarkable, dating from earlier in 1831. The composer was at this stage still undecided whether the role of the virtuous peasant girl Alice should go to Julie Dorus-Gras or Wilhelmine Schröder-Devrient, the great soprano that was to inspire Richard Wagner The role was finally assigned to Doras-Gras for the première on 21 November. He also indicates that he wanted the baritone Henri-Bernard Dabadie as the sinister Bertram, but the director of the Opéra, Louis Véron, persuaded him that the role was better suited to the Rossinian basso profondo Nicholas Levasseur and, over the summer of 1831, Meyerbeer made significant alterations to his score to accommodate the change in tessitura. The ballet sections of the opera were celebrated for the dancing nuns, here led by Marie Taglioni, one of the most celebrated ballerinas of the Romantic ballet.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
