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''Robert le diable'' (''Robert the Devil'') is an opera in five acts composed by Giacomo Meyerbeer from a libretto written by Eugène Scribe and . ''Robert le diable'' is regarded as one of the first grand operas at the Paris Opéra. It has only a superficial connection to the medieval legend of ''Robert the Devil''. The opera was immediately successful from its first night on 21 November 1831 at the Opéra; the dramatic music, harmony and orchestration, its melodramatic plot, its star singers and its sensational stage effects compelled Frédéric Chopin, who was in the audience, to say, "If ever magnificence was seen in the theatre, I doubt that it reached the level of splendour shown in ''Robert''...It is a masterpiece...Meyerbeer has made himself immortal".〔Brown, ''Robert le diable'', p. 572〕 ''Robert'' initiated the European fame of its composer, consolidated the fame of its librettist, Scribe, and launched the reputation of the new director of the Opéra, Louis-Désiré Véron, as a purveyor of a new genre of opera. It also had influence on development of the ballet, and was frequently mentioned and discussed in contemporary French literature. ''Robert'' continued as a favourite in opera houses all over the world throughout the nineteenth century. After a period of neglect, it began to be revived towards the end of the twentieth century. ==Background== Giacomo Meyerbeer's early studies had been in Germany, but from 1816 to 1825 he worked in Italy. There he studied opera, then dominated by Gioachino Rossini, and wrote his own Italian operas, which were moderately successful and also had some performances in other European countries.〔Conway (2012), pp. 246–248〕 The success of ''Il crociato in Egitto'' (1824) throughout Europe, including at Paris in 1825, persuaded Meyerbeer, who was already thirty-three years old, to fulfil at last his ambition to base himself in Paris, and to seek a suitable libretto for an opera to be launched there.〔Conway (2012), pp. 249–50〕 Meyerbeer first mentions ''Robert le diable'' in his diaries in February 1827. The ''Journal de Paris'' announced on 19 April 1827 that the libretto of Scribe and Delavigne had been passed by the censor and that 'the music is to be entrusted to a composer, M. Meyer-Beer, who, having acquired a brilliant reputation in Germany and Italy, is extending it to our country, where several of his works have been already successfully represented.'〔Meyerbeer (1999), p. 384 & pp. 422–3〕 The libretto was fabricated on the basis of old legends about Duke Robert the Magnificent of Normandy, the father of William the Conqueror, alleged in some versions to have been the son of the Devil. The librettists padded out this outline with a variety of melodramatic incidents. The plot reflected 'the fantastic legendary elements which fascinated the opera public of 1830', a taste which had evolved from the 1824 Paris production of Carl Maria von Weber's ''Der Freischütz'' (in its French version ''Robin des bois''), which also features a doubtful hero befriended by a demon promising him success.〔Crosten (1948), p. 92〕〔Taruskin (2010), p. 217〕 The libretto was originally planned as a three-act ''opéra comique'' for the Opéra-Comique theatre. Meyerbeer stopped work on the opera in 1827 when the theatre underwent financial difficulties. In August 1829, the composer and librettists agreed to refashion the work in a five-act form to meet the requirements of the Paris Opéra.〔Brzoska (2003), p. 190〕 This entailed some significant rewriting of the storyline, reducing the essentially comic role of Raimbaut (who vanishes after Act 3 in the final version, but whose antics – including the spending of Bertram's money – continued throughout in the earlier libretto). It also meant that the traditional 'pairing' of lovers in opéra comique (Robert/Isabelle paralleled throughout by the 'lower-class' Raimbaut/Alice) was swept aside in favour of concentration on the more sensational story-line of Robert's diabolic ancestry.〔Heuber (1992), p. 1357. For details of the earlier version see Everist (1994).〕 The contract for the opera, specifying it as a "grand opera in five acts and seven scenes", was signed by the then director of the Opéra, Émile Lubbert, on 29 December 1829. Meyerbeer completed the composition of the work in Spa, Belgium in June and July 1830.〔Meyerbeer (1999), p. 391〕 Its characterisation as a 'grand opera' placed it in succession to Auber's ''La muette de Portici'' (1828) and Rossini's ''Guillaume Tell'' (1829) in this new genre. The composer undertook further work on the opera in early 1831, converting spoken passages to recitatives and adding ballet episodes, including, in Act 3, the "Ballet of the Nuns", which was to prove one of the opera's great sensations, and which Henri Duponchel had suggested to replace the original humdrum scenario set in Olympus. He also rewrote the two major male roles of Bertrand and Robert to suit the talents of Nicolas Levasseur and Adolphe Nourrit, respectively.〔〔Heubner (1992), p. 1357〕 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 le diable」の詳細全文を読む スポンサード リンク
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