Il crociato in Egitto
ERO,v.18. See also #1190.
- Everist, Mark. “Meyerbeer’s Il crociato in Egitto: Mélodrame, Opera, Orien-
talism.” COJ8-3 (November 1996): 215–250.
Genesis, with attention to the heretofore unknown source of the libretto.
Everist says it was Les chevaliers de Malte,a mélodrameof 1813 by Jean-
Antoine-Marie Monperlier, Jean- Baptiste Dubois, and Hyacinthe Albertin.
Following a comparison of play and libretto, there is a study of Orientalism,
race, religion, liberty, and licentiousness, all having a part in the work.
L’etoile du nord
ERO, v.22.
Les huguenots
ASO134 (1990), ERO,v.20.
- Walter, Michael. Hugenotten-Studien.Frankfurt: Lang, 1987. iv, 260p. ISBN
3-8204-9866-4. ML410 .M606 W23.
Genesis, text, reception, and scene-by-scene analysis—an excellent handbook
for the opera. Backnotes, bibliography of some 200 entries, no index. - Mitchell, Michael Kenneth. “Melodrama and the Illusion of Tragedy in Meyer-
beer’s Les huguenots.” Ph.D. diss., U. California at Santa Barbara, 1994.
407p.
Le pardon de Ploermel
ERO,v.23. See also #1190.
Le prophète
ERO,v.21.
- Gibson, Robert Wayne. “Meyerbeer’s Le prophète: A Study in Operatic Style.”
Ph.D. diss., Northwestern U., 1972. 226p. - Armstrong, Alan. “Gilbert-Louis Duprez and Gustave Roger in the Composi-
tion of Meyerbeer’s Le prophète.” COJ8-2 (July 1996): 147–165.
Discusses the rising power of the star singer in the Paris Opéra in the 1830s
and 1840s. Meyerbeer and others revised to satisfy certain singers; the two
tenors of the article title influenced alterations in Le prophète. These revisions
are discussed, along with the opera’s genesis.
See also Pendle (#2299).
Robert le diable
ASO96 (1985), ERO, v.19. See also #1190.
230 Opera