CHAPTER XXXVIII.
FRENCH OPERATIC COMPOSERS OF THE
NINETEENTH CENTURY.
N the earlier part of the nineteenth century the operatic stage of Paris shared with those of Berlin and Dresden the honor of producing brilliant novelties by the best composers. In France there had been a persistent cultivation of this province of musical creation, and many talented composers have appeared upon the scene of the Grand Opera and that of the Opéra Comique. French opera has developed into a genre of its own, rhythmically well regulated, instrumented in a pleasing and attractive manner, and staged with considerable reference to spectacular display.
Fig. 90.
AUBER.
The oldest of these masters to achieve distinction, and the one most successful in gaining the ear of other countries than France, was Daniel François Esprit Auber (1782-1870). He was born in Caen, in Normandy, of a family highly gifted and artistic in temperament. Nevertheless, his father intended him for a merchant, and sent him to England in 1804, in the hope that the study of commercial success there might wean him from his love of music. But the boy came back more musical than ever. After composing several pieces, a little opera, a mass, etc., his first opera to be publicly performed was "Le Séjour Militaire." During the fifteen years next following he wrote a succession of light operas for the smaller theaters of Paris, most of them with librettos by Scribe. No one of these works had more than a temporary success, and the names are not sufficiently important to be given here. At length, in 1828, he produced his master work, "La Muette di Portici," otherwise known as "Masaniello," which at once placed its author upon the pinnacle of fame. This was an opera upon the largest scale, and was the first in order of the three great master works which adorned the Paris stage during this and the three years following. The others were Rossini's "Tell" in 1829, and Meyerbeer's "Robert" in 1831. The subject was fortunately related to the spirit of the times, Masaniello having been leader of the insurgents in Naples. The work well deserved its success, since for melody and pleasing effects it has rarely been surpassed. The overture is still much played as a concert number, but the opera itself has nearly left the stage, excepting in Germany, where it still has a distinguished place. All his later works were lighter than "Masaniello." They were "La Fiancée" (1829), the extremely melodious and popular "Fra Diavolo" (1830) and many others, for more than twenty years still. Among them were "The Bronze Horse" (in 1835), "Le Domino Noir" (in 1837), and "The Crown Diamonds" (1831). Auber was elected member of the Institute in 1829, and in 1842 succeeded Cherubini as director of the Conservatory. He was an extremely witty and charming man, beloved by all.
Contemporaneous with Auber, but more allied to the genius of Boieldieu, was Louis Joseph Ferdinand Hérold, (1791-1833). After studying at the Conservatory and composing a number of operas which failed, or had but moderate success, he brought out "Zampa," in 1831. This work had an extraordinary success, and its overture is still often heard. Another work "Le Pré aux Clercs," (1832), is generally esteemed in France more highly than "Zampa," but outside of his native country public opinion universally regards the latter as his best work. Hérold's operas are extremely well conceived from a dramatic point of view, and his melody has much of the sweet and flowing quality of the best Italian. His concerted numbers also are well made, and in all respects he is to be regarded as a master of high rank within the province of light opera, verging indeed upon the confines of the romantic type, like that of Weber.