Available languages: EnglishLéo Delibes was the first notable composer of ballet to emerge after the death of Rameau, the art of ballet composition having suffered a period of neglect in the interim. Delibes was the first to craft a full-length ballet score with the care and distinction already common among the best opera composers; not only could he produce buoyant, memorable tunes, but he delivered them in sparkling orchestrations. He also wrote several operas, of which Lakmé -- which generated one popular aria (the "Bell Song") and a now-ubiquitous duet -- is the best known. Delibes studied at the Paris Conservatory under Adolphe Adam. In 1853, he became accompanist at the Théâtre-Lyrique, moving to the same position at the prestigious Paris Opéra ten years later. His great success as a composer of music for the theater in the 1870s and early 1880s gained him a professorship in composition at the conservatory in 1881, and membership in the French Institute in 1884. The French did not place much value on instrumental music during Delibes' youth, so the emerging composer concentrated on light-hearted operettas and farces in the manner of Offenbach. His first opportunity to work on a large ballet score came in 1866, when he collaborated with Ludwig Minkus on La Source. The success of this ballet led eventually to commissions for the two works that would again raise ballet music to its highest level: Coppélia (1870), based on a story of E.T.A. Hoffmann, and Sylvia (1876), based on a mythological theme. The former is still produced regularly; both light, graceful works generated concert suites that, although not as common in the concert hall as they might be, have been frequently recorded. Meanwhile, Delibes honed his skill as an opera composer. Most notable are his opéra comique Le Roi l'a dit (1873) and his more serious, exotic Lakmé (1883). Delibes's church music (he once worked as an organist) has fallen by the wayside, as have most of his colorful songs, with the exception of Les Filles de Cadiz, which exudes the same Franco-Spanish air as Bizet's Carmen. His most important work, clearly, was for the stage, particularly those two 90-minute ballet scores. Their significance, beyond their own merits, is the direct influence they had on Tchaikovsky, whose mastery of the symphonic ballet owes everything to Coppélia and Sylvia.
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