Munich 2007, 39–59.An 2 (intrasexual competition context vs. XII, 193, 197.īernd Witte: Jüdische Tradition und literarische Moderne. New York 1999, 10f.ĭolf Sternberger: Heinrich Heine und die Abschaffung der Sünde. In: Heinrich Heine’s Contested Identities: Politics, Religion, and Nationalism in Nineteenth-Century Germany, ed. Steven Huebner: Review: Fromental Halévy, ›La Juive‹: Dossier de presse parisienne (1835) by Karl Leich-Galland, La Critique parisienne des ›grands opéras‹ de Meyerbeer: ›Robert le diable‹, ›Les Huguenots‹, ›Le Prophète‹, ›L’Africaine‹ by Marie-Hélène Coudroy. Cited in Mann, 104.Īdolf Bartels: Heine und Meyerbeer. Neue Dokumente revidieren ein Geschichtsurteil. ![]() Heinz Becker: Der Fall Heine - Meyerbeer. See Anne Randier-Glenisson: Maurice Schlesinger, Editeur de musique et fondateur de la »Gazette musicale de Paris« 1834–1846. See Ruth Jordan: Fromental Halévy: His Life and Music, 1799–1862. ![]() See Friedrich Battenberg: Das Europäische Zeitalter der Juden. In: Notes (Music Library Association), Second Series, 50 (1993), No. Dossier de presse parisienne (1835) by Karl Leich-Galland. 1, 34–35.Įlizabeth Lamberton: Review of Fromental Halévy: La Juive. In: Jewish Social Studies 9 (1947), No. Zosa Szajkowski: The Jewish Saint-Simonians and Socialist Antisemites in France. In: Jewish Social Studies 37 (1975), No. Ratcliffe: Crisis and Identity: Gustave d’Eichthal and Judaism in the Emancipation Period. 2, 213–229.įrench Grand Opera and the Quest for a National Image: An Approach to the Study of Government-Sponsored Art. In: The Musical Quarterly 67 (1981), No. Cambridge 1987.įor an analysis of how the reception of Meyerbeer’s operas mirrors the political expectations of the post-Revolutionary regime, see Jane Fulcher: Meyerbeer and the Music of Society. Fulcher: The Nation’s Image: French Grand Opera as Politics and Politicized Art. See Donald Egbert: Social Radicalism and the Arts. »Halévy spent much of his life in awe of Meyerbeer, whose talents he thought superior to his own«. See Wendy Thompson and Tim Ashley: Halévy, Jacques (François) Fromental (Élie). Karin Pendel: Eugene Scribe and French Opera of the Nineteenth Century. Graf: ✼omposer and Critic,« 200 Years of Musical Criticism. Most damning in this regard is Ludwig Börne’s report to Jeanette Wohl immediately following Hiller’s concert on December 4, 1831, in which he claims Heine was totally »unwissend in Musik« and unable to recognize the movements of Hiller’s symphony. His composer friend Hiller good-naturedly recalls, »Theoretisch oder praktisch verstand Heine garnichts von Musik« and relates that Heine laughingly acknowledged his own ignorance about the term »Generalbass«. Heine’s lack of formal musical knowledge must have been quite obvious. See Jocelyne Kolb: Heine’s Amusical Muse. See also: Jan-Christoph Hauschild and Michael Werner: ✽er Zweck des Lebens ist das Leben selbst«. See Michael Mann: Heinrich Heines Musikkritiken. See Karl Leich-Galland (ed.): Fromental Halévy, »La Juive«: Dossier de presse parisienne (1835). Hallman: Opera, Liberalism, and Antisemitism in Nineteenth-Century France: The Politics of Halévy’s »La Juive«. With its portrayal of religious ceremony and the appearance of Catholic clergy on stage, the recently reinstituted Commission de Surveillance was looking closely at anti-clerical and anti-authoritarian elements in »La Juive«. ![]() ![]() 3 Contributing to the expectancy surrounding the premier of »La Juive« was knowledge of its subject matter: the stark confrontation of Christian and Jewish faith at the Council of Constance in 1414 and the martyrdom of Scribe’s heroine, the Jewess Rachel, in an auto-da-fé in the final act. Scribe had collaborated with Meyerbeer on the sensation of the 1831 opera season, »Robert le Diable«, and had actually approached Meyerbeer first about composing the new work. Halévey’s collaborator on »La Juive« was none other than Eugène Scribe, the most prolific and best known librettist of the period. 2 The composer, who had won the prestigious Prix de Rome in 1819 and been appointed chef de chant at the Académie royal de musique in 1827, had had only modest success at the Opéra-Comique but seemed poised to make a breakthrough at the Opéra, indeed to challenge the current supremacy of Giacomo Meyerbeer, who was known to be working on his own grand opera, »Les Huguenots«, that would have its delayed premier the following season. 1 As the major, new grand opéra of the season the work was feverishly anticipated by the Parisian public and the subject of intense speculation in the press. It is likely, though not certain, that Heinrich Heine attended the premier of Fromental Halévy’s opera, »La Juive«, at the Paris Opéra on February 23, 1835.
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