The Name of the Rose

Robert le Diable was perhaps the greatest operatic success of the early nineteenth century. Its 1831 premiere catapulted its composer not only to the centre of Parisian musical and theatrical culture but also to those of every European stage 1. Meyerbeer immediately found himself at the head of what Paris saw as the German School, and secured the coveted position as Weber's successor. Evidence of the unique nature of the opera's immediate impact was extensive and varied. Gauging a work's success or failure from contemporary press reports is a familiar approach to this question, and the material pertaining to Robert le Diable is well known. In addition to reflecting popular views of the composition, the press provided a forum for the discussion of contemporary French music theatre and Meyerbeer's position in it 2. Meyerbeer was affected by the work's success both publicly and privately. Letters of congratulation survive from the civil servant, Edmond Blanc, the editor Jacques Coste, and Henri Berton. Le Sueur wrote a long letter of congratulation that ranged widely over the musical and dramatic subjects raised by the work. But perhaps Meyerbeer would have been touched most by the comments penned immediately after the premiere by his distinguished friend Alexander von Humboldt. More public approbation came in January 1832 when Meyerbeer was nominated Chevalier de l'Ordre Royal de la Legion d'Honneur 3

Art · Rose (mathematics) · Historical and Literary Analyses · Historical and Literary Studies · Mathematics · Musicology and Musical Analysis

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