Grand opera in the context of "Giacomo Meyerbeer"

A background actor or extra is a performer in a film, television show, stage, musical, opera, or ballet production who appears in a nonspeaking or nonsinging (silent) capacity, usually in the background (for example, in an audience or busy street scene). War films and epic films often employ background actors in large numbers: some films have featured hundreds or even thousands of paid background actors as cast members (hence the term "cast of thousands"). Likewise, grand opera can involve many background actors appearing in spectacular productions.

On a film or TV set, background actors are usually referred to as "supporting artists", "junior artists", "atmosphere", "background talent", "background performers", "background artists", "background cast members", "talent", "background friends", or simply "background", while the term "extra" is rarely used and is often considered derogatory. In a stage production, background actors are commonly referred to as "supernumeraries". A more archaic theatre term is "sword carriers". In opera and ballet, they are called either "extras" or "supers".

A number opera (Italian: opera a numeri; German: Nummeroper; French: opéra à numéros) is an opera consisting of individual pieces of music ('numbers') which can be easily extracted from the larger work. They may be numbered consecutively in the score, and may be interspersed with recitative or spoken dialogue. Opera numbers may be arias, but also ensemble pieces, such as duets, trios, quartets, quintets, sextets or choruses. They may also be ballets and instrumental pieces, such as marches, sinfonias, or intermezzi. The number opera format was standard until the mid-19th century and most opera genres, including opera seria, opera buffa, opéra comique, ballad opera, Singspiel, and grand opera, were constructed in this fashion.

The replacement of numbers with more continuous music began in operas by Jommelli, Traetta, Gluck, and especially Mozart, whose late operas Le Nozze di Figaro and Don Giovanni contain several segments in which different numbers are unified by bridge passages to form a musical whole. This trend became even more striking in the operas of the German composers Beethoven, Weber, and Meyerbeer, while their Italian and French contemporaries Rossini, Donizetti, Bellini, and Auber retained the number opera style.

Augustin Eugène Scribe (French: [oɡystɛ̃ øʒɛn skʁib]; 24 December 1791 – 20 February 1861) was a French dramatist and librettist. He is known for writing "well-made plays" ("pièces bien faites"), a mainstay of popular theatre for over 100 years, and as the librettist of many of the most successful grand operas and opéras-comiques.

Born to a middle-class Parisian family, Scribe was intended for a legal career, but was drawn to the theatre, and began writing plays while still in his teens. His early years as a playwright were unsuccessful, but from 1815 onwards he prospered. Writing, usually with one or more collaborators, he produced several hundred stage works. He wrote to entertain the public rather than educate it. Many of his plays were written in a formulaic manner which aimed at neatness of plot and focus on dramatic incident rather than naturalism, depth of characterisation or intellectual substance. For this he was much criticised by intellectuals, but the "well-made play" remained established in the theatre in France and elsewhere long after his death.

Robert the Devil, or The Nun, the Dun, and the Son of a Gun is an operatic parody by W. S. Gilbert of Giacomo Meyerbeer's grand opera Robert le diable, which was named after, but bears little resemblance to, the medieval French legend of the same name. Gilbert set new lyrics to tunes by Meyerbeer, Bellini, Offenbach and others.

The piece premiered at the opening of the newly rebuilt Gaiety Theatre in London on 21 December 1868. An extravaganza played on a very large scale, it ran for over 120 performances and played continuously in the British provinces for three years thereafter. It also enjoyed several revivals. The original production starred Nellie Farren in the title role – she became the company's leading "principal boy". Several of the other male roles were played by women, as was common in burlesques of the day.

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.

Daniel-François-Esprit Auber (French: [danjɛl fʁɑ̃swa ɛspʁi obɛːʁ]; 29 January 1782 – 12 May 1871) was a French composer and director of the Paris Conservatoire.

Born into an artistic family, Auber was at first an amateur composer before he took up writing operas professionally when the family's fortunes failed in 1820. He soon established a professional partnership with the librettist Eugène Scribe that lasted for 41 years and produced 39 operas, most of them commercial and critical successes. He is mostly associated with opéra-comique and composed 35 works in that genre. With Scribe he wrote the first French grand opera, La Muette de Portici (The Dumb Woman of Portici) in 1828, which paved the way for the large-scale works of Giacomo Meyerbeer.

Robert le diable (Robert the Devil) is an opera in five acts composed by Giacomo Meyerbeer between 1827 and 1831, to a libretto written in French by Eugène Scribe and Germain Delavigne. 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". 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.