François Adrien Boieldieu , born the December 16th 1775 with Rouen and dead the October 8th 1834 with Varennes-Jarcy, is a Compositeur French.

Artist born under the Old Mode, Boieldieu made his weapons during the Terreur, acquired the celebrity during the Consulat and the Empire, was honoured by the Bourbons then ruined by the Révolution with July. He remains the principal French type-setter of operas of the first quarter of the 19th century.

Biography

Boieldieu was initiated with the music by the Master of Chapelle then by the organist of the Cathédrale Notre-Dame of Rouen. The Révolution did not slow down the musical activity of the Théâtre of Rouen, which continued to present works of young authors such Etienne Nicolas Méhul. During the Terror, Rouen was even one of the rare cities to preserve an important musical activity and, in 1793, several concerts were organized with famous the Violon ist Rode and Ténor Garat. Boieldieu then composed its first works on texts written by his/her father, the guilty Girl in 1793, then Rosalie and Mirza in 1795, which brought an immediate success to him.

During the revolutionary period, Boieldieu left for Paris and, prudently, settled there as tuner of Piano S. Seul the Op3era Comique then offered outlets for these hybrid works, close to the traditional opera but comprising spoken dialogs. The most typical work is Médée of Cherubini (1797). The Op3era Comique, traditionally represented in the Favart room, was also played theater of Mister as of 1789 and, in 1791, settled in a new theater, the Feydeau theater, reserved before for the troop of the opera buffa. During ten years, the troops of Favart and Feydeau were competed with, Favart multiplying the patriotic spectacles and presenting lighter works of Méhul, Feydeau rather proposing heroic dramas of Cherubini or Lesueur. In 1797, Boieldieu proposed in Feydeau the Swiss Family and the Happy News . In 1798, it proposed in Favart Zoraime and Zulmare . Success was striking down.

Spiritual sons of Grétry, Boieldieu privileged the melodies without superfluous ornaments which it emphasized with a light but neat instrumentation and spiritual dialogs. Berlioz allotted to its music a “ Parisian elegance of good taste which likes ”. In 1800, it gained a true triumph with the Caliph of Baghdad . In 1804, it left for Saint-Pétersbourg in order to occupy the post of type-setter of the court of the Tsar until in 1810. It composed there nine operas of which Aline, queen of Golconde (1804) and versed cars (1820). Of return in France, it reconquered the public of Paris with the young woman in anger (1811), Jean of Paris (1812), the New Lord of the village (1813) and ten of other works.

In 1825, it published its masterpiece, the Lady White , taken again Favart room in 1997 and recorded under the direction of Marc Minkowski. Based on a novel of Walter Scott - unusual fact at that time -, the booklet is built on the topic of the lost child then fortunately recognized in extremis . The style of this opera was taken again for Lucia di Lammermoor , I Puritani and the pretty girl of Perth . Recognized like one of the first attempts at introduction of the Fantastic into the opera, the white Lady was also a model for the operas Robert the Devil or Faust .

Boieldieu became professor of composition to the Conservatoire of Paris and, in 1817, succeeded Méhul with the Académie of the Art schools of the Institute of France. It accepted the Légion of honor in 1820. Its following opera, the Two Nights (1829) was admired by Wagner which rented “ the promptness and the natural grace of the French spirit ” and which took as a starting point one of the choruses for the “walk of engagement” of Lohengrin . Boieldieu lost the use of the word gradually, undoubtedly because of a cancer of the larynx. The bankruptcy of the Op3era Comique and the Révolution of 1830 added to its misfortune. In order to avoid misery to him, Thiers ensured to him a government pension of 6000 francs. The September 25th 1834, it made its last public appearance for the first of the Chalet of Adolphe Adam. Little before its death, it had thus elegance to pass the torch to its brilliance raises.

A college bears its name to Rouen. The 7th crossing from the Seine in Rouen also bears its name.

Its work

Operas:

• the guilty Girl (1793)
• Rosalie and Myrza (1795)
• the Happy News (1797)
• the Swiss Family (1797)
• the Bet or Mombreuil and Merville (1797)
• Zoraïme and Zulnare (1798)
• the Dowry of Suzette (1798)
• Spanish Mistakes (1799)
• Emma or Captive the (1799) with Cherubini
• Béniovski or Exiled of Kamchattka (1800)
• the Caliph of Baghdad (1800)
• My Aunt Aurore or the Novel impromptu (1803)
• the Kiss and the receipt or an Adventure of garrison (1803)
• Aline, queen of Golconde (1804)
• the Young woman anger (1805)
• Abderkan (1805)
• a Turn of maidservant (1806)
• Télémaque (1806)
• Love and mystery or Which is my cousin? (1807)
• the invisible Lady (1808)
• Athalie (1808)
• Nothing too or the Two Folding screens (1811)
• Jean of Paris (1812)
• the New Lord of village (1813)
• the Inhabitant of Béarn or Henri IV travels from there (1814)
• Angéla or the Workshop of Jean Cousin (1814)
• the Festival of the village close (1816)
• Charles to France or Love and glory (1816)
• the Little Red Riding Hood (1818)
• the versed Cars or the Seducer travels from there (1820)
• rival Arts (1821)
• Blanche of Provence or the Court of the fairies (1821)
• France and Spain (1823)
• the Three Kinds (1824) (in collaboration with Auber)
• Pharamond (1825)
• the white Lady (1825)
• the Two Nights (1829)
• the Marchioness of Brinvilliers (1831) (in collaboration with Auber, Cherubini and others)

Concertos

• Concerto for toothing-stone in major C (1800)

External bonds

• musicologie.org Biography, catalogs works, bibliography

Simple: François Adrien Boieldieu

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