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| notable_works = ''Hiawatha'' (1859) }} Robert Auguste Stoepel (1821 – October 1, 1887) was a German-born American composer and conductor. His compositions include ''Hiawatha'', a symphony for orchestra and vocal soloists, as well as incidental music for plays, piano works, songs, and several operas. Born in Berlin, Stoepel worked in Paris and London, but spent a large portion of his career in New York City where he died at the age of 66. From 1857 until their divorce in 1869, he was married to the actress Matilda Heron. Their daughter Bijou Heron was also an actress. == Biography == He was born Auguste Stöpel in Berlin, 1821.〔"An Old Musician Dead," ''New York Times'', October 2, 1887. Much of the biographical information in this article comes from this obituary.〕 Because his father had a reputation as a court musician, he adopted his forename. His sister, Hélène Stöpel, was noted as a "charming and talented pianist."〔Robert Stöpel, ''Musical World'' 24, no. 32 (August 11, 1849), p. 497.〕 (She later married the composer William Vincent Wallace.) After he graduated from the Berlin Conservatory of music, he went to Paris where he graduated from the Conservatoire de Paris, where his teachers included Luigi Cherubini, Fromental Halévy, and Friedrich Kalkbrenner〔Pisani, p. 51.〕 He apparently got his start at composing incidental music for dramas there, being one of three composers who contributed to a stage production of ''Monte-Cristo'', a play by Alexandre Dumas and Auguste Maquet which premiered on February 3, 1848 at the Théâtre Historique.〔Emilio Sala, Il valzer delle camelie: echi di Parigi nella Traviata (Torino: EDT, 2008), p. 32, 148. The other composers were Alphonse Varney and Sylvain Mangeant.〕 According to his obituary in the ''Musical Times'', while in Paris he wrote two operas, ''Indiana'' and ''Charlemagne''.〔Obituary, ''Musical Times'', p. 676.〕 In an 1849 article in the ''Musical World'' it was noted that he was negotiating with John Medex Maddox to produce his opera, ''La sentinelle perdu'', for the Princess Theatre in London, and that he had already composed a ballet which was performed at the Paris Opera.〔 In 1850, impresario Max Maretzek brought him to New York City. His first association was with Wallack's Theatre, where he wrote and conducted incidental music for plays. In 1856 the New York Times reported: "The orchestra of this establishment (Wallack's Theatre ) is deliciously neat and effective, and the compositions it plays are thoroughly artistic. Mr. Robert Stoepel, the conductor, is one of the best informed musicians in the country, and the evidence of taste and knowledge are never absent. He has succeeded in making the musical department an important feature of the entertainments, and if the orchestra always plays as well as it did on Saturday night we are not at all surprised thereat."〔''New York Times, July 14, 1856, p. 4.〕 He wrote incidental music for all of the plays written by Dion Boucicault during his stay in New York from 1854 through 1860. He was the conductor of many New York productions of Offenbach operettas, including ''La Grande-Duchesse de Gérolstein'', ''La Vie Parisienne'', ''Fleur de Thé'', and ''Geneviève de Brabant''. His most ambitious compositional effort was ''Hiawatha'' based on Henry Wadsworth Longfellow's poem ''The Song of Hiawatha''.〔Pisani,p. 45–85. Pisani has also written a book-length study of Stoepel, as yet unpublished.〕〔(Robert Stoepel ) picturehistory.com.〕 Subtitled "an Indian Symphony," this was a work symphonic in proportions with vocal soloists and a part for narrator. It was first performed by the Mendelsson Union with soloists Mrs. I.I. Harwood (who alternated between the two female roles of Nokomis and Minnehaha), Harrison Millard (Hiawatha), J. Q. Wetherbee (who sang the Great Spirit and the Arrow-Maker)〔 with recitations by the composer's wife Matilda Heron, on February 21, 1859 at the Boston Theatre in Boston.〔''New York Times'', February 21, 1859, p. 4.〕 It was performed in New York shortly thereafter. ''Hiawatha'' had its London premiere on February 11, 1861.〔Pisani, p. 57.〕 He stayed at Wallack's Theatre through the 1860s.〔Deane L. Root, ''American popular stage music 1860-1880'', p. 45.〕 He also worked for the Winter Garden Theatre (1850). After it burnt down in 1867, he worked for Daly's Fifth Avenue Theatre. There he composed and conducted incidental music for the stage productions ''The Hurricane'', ''Divorce'', ''Frou-Frou'', ''Man and Wife'', and ''Fernande''. Sometime in the 1870s he moved to London where he was engaged by Henry Miller.〔In the 1881 United Kingdom Census he is listed as living at 11 Colville Square, Kensington Town, staying with William & Edith Every; he gave his age as 55-year-old; his daughter Helene was 17 years old.〕 He composed incidental music for all of Miller's first successes. When Miller came to New York, Stoepel found that Miller was still using his music, so he filed a suit against him and settled for $2,000.〔 During the 1880-81 season he was musical director of the Adelphi Theatre in London.〔 While in London he wrote an opera called ''Aldershot''.〔 Around 1884 he became deaf, and apparently moved back to New York. At the time of his death he was working on two more operas, ''Unita'' and ''The Mahdi''.〔 The ''Musical Times'' obituary mentions that at once time he amassed a fortune of ₤20,000, but lost ₤12,000 during a real estate panic in New York. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Robert Stoepel」の詳細全文を読む スポンサード リンク
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