Ferdinand Hérold in the context of Le pré aux clercs


Ferdinand Hérold in the context of Le pré aux clercs

⭐ Core Definition: Ferdinand Hérold

Louis Joseph Ferdinand Herold (28 January 1791 – 19 January 1833), better known as Ferdinand Hérold (pronounced [fɛʁdinɑ̃ eʁɔld]), was a French composer. He was celebrated in his lifetime for his operas, of which he composed more than twenty, but he also wrote ballet music, works for piano and choral pieces. He is best known today for the ballet La Fille mal gardée and the overture to the opera Zampa.

Born in Paris to a musical family, Hérold trained at the Paris Conservatoire and won France's premier musical prize, the Prix de Rome in 1812. After a time in Italy he returned to Paris and worked first at the Théâtre Italien and then at the Opéra. He wrote several ballets for the latter, but was best known as a composer of opéra comique. Some of them, particularly in his early days, were hampered by poor librettos, but later he had more successes than failures, and his last two operas, Zampa (1831) and Le Pré aux clercs (The Clerk's Meadow, 1832) were immensely popular, and remained in the repertory in France and elsewhere for decades after his early death from tuberculosis in 1833.

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👉 Ferdinand Hérold in the context of Le pré aux clercs

Le pré aux clercs (French pronunciation: [lə pʁe o klɛʁ], The Clerks' Meadow) is an opéra comique in three acts by Ferdinand Hérold with a libretto by François-Antoine-Eugène de Planard based on Prosper Mérimée's Chronique du temps de Charles IX of 1829.

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Ferdinand Hérold in the context of French opera

French opera is both the art of opera in France and opera in the French language. It is one of Europe's most important operatic traditions, containing works by composers of the stature of Rameau, Berlioz, Gounod, Bizet, Massenet, Debussy, Ravel, Poulenc and Messiaen. Many foreign-born composers have played a part in the French tradition, including Lully, Gluck, Salieri, Cherubini, Spontini, Meyerbeer, Rossini, Donizetti, Verdi and Offenbach.

French opera began at the court of Louis XIV with Jean-Baptiste Lully's Cadmus et Hermione (1673), although there had been various experiments with the form before that, most notably Pomone by Robert Cambert. Lully and his librettist Quinault created tragédie en musique, a form in which dance music and choral writing were particularly prominent. Lully's most important successor was Rameau. After Rameau's death, Christoph Willibald Gluck was persuaded to produce six operas for the Paris Opera in the 1770s. They show the influence of Rameau, but simplified and with greater focus on the drama. At the same time, by the middle of the 18th century another genre was gaining popularity in France: opéra comique, in which arias alternated with spoken dialogue. By the 1820s, Gluckian influence in France had given way to a taste for the operas of Rossini. Rossini's Guillaume Tell helped found the new genre of Grand opera, a form whose most famous exponent was Giacomo Meyerbeer. Lighter opéra comique also enjoyed tremendous success in the hands of Boieldieu, Auber, Hérold and Adam. In this climate, the operas of Hector Berlioz struggled to gain a hearing. Berlioz's epic masterpiece Les Troyens, the culmination of the Gluckian tradition, was not given a full performance for almost a hundred years after it was written.

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