Meyerbeer died in Paris on 2 May 1864.

While there, he had the opportunity to hear operas by Meyerbeer and Halévy, which imparted a strong influence on him, especially the latter's La Juive.

His unfinished opera Die drei Pintos ( The Three Pintos ) was originally given by Weber's widow to Giacomo Meyerbeer for completion ; it was eventually completed by Gustav Mahler, who conducted the first performance in this form in Leipzig on 20 January 1888.

Influenced by Domenico Scarlatti's harpsichord school and Haydn's classical school and by the stile galante of Johann Christian Bach and Ignazio Cirri, Clementi developed a fluent, technical legato style which he passed on to an entire generation of pianists, including John Field, Johann Baptist Cramer, Ignaz Moscheles, Giacomo Meyerbeer, Friedrich Kalkbrenner, Johann Nepomuk Hummel and Carl Czerny.

Pasdeloup resumed his regular Sunday concerts, and on 5 November the Opéra reopened with excerpts from works by Gluck, Rossini and Meyerbeer.

Smetana's champions have recognised the major influences on his work as Liszt, Wagner and Berlioz – the " progressives " – while those same advocates have often played down the significance of " traditionalist " composers such as Rossini, Donizetti, Verdi and Meyerbeer.

With a confidence lacking in the original frenetic effort, the second ( new ) part seeks to contextualise Wagner ’ s anti-Jewish feelings in the setting of later nineteenth-century German politics, whilst continuing to snipe at the dead Mendelssohn and Meyerbeer and bringing in other dead musicians, including Schumann, on Wagner ’ s side.

* Meyerbeer Overture to Dinorah ( 1938, on Testament )

* Jephtas Gelübde, an opera on the story by Meyerbeer.

He was to adopt the surname Meyerbeer on the death of his grandfather Liebmann Meyer Wulff ( 1811 ) and the first name Giacomo during his period of study in Italy, around 1817.

Despite performances of his oratorio Gott und die Natur ( God and Nature ) ( Berlin, 1811 ) and his early operas Jephtas Gelübde ( Jephtha's Vow ) ( Munich, 1812 ) and Wirth und Gast ( Landlord and Guest ) ( Stuttgart, 1813 ) in Germany, Meyerbeer had set his sights by 1814 on basing an operatic career in Paris.

Meyerbeer wrote a series of Italian operas on Rossinian models, including Romilda e Costanza ( Padua, 1817 ), Semiramide riconosciuta ( Turin, 1819 ), Emma di Resburgo ( Venice, 1819 ), Margherita d ' Anjou ( Milan 1820 ) and L ' esule di Granata ( Milan 1821 ).

Berlioz – who had commented that ' Meyerbeer not only had the luck to be talented, he had the talent to be lucky ' – wrote ' I can't forget that Meyerbeer was only able to persuade Opéra to put on Robert le diable ... by paying the administration sixty thousand francs of his own money '; and Chopin lamented ' Meyerbeer had to work for three years and pay his own expenses for his stay in Paris before Robert le diable could be staged .... Three years, that's a lot – it's too much.

The fusion of dramatic music, melodramatic plot, and sumptuous staging in Robert le diable proved a sure-fire formula, as did the partnership with Scribe, which Meyerbeer would go on to repeat in Les Huguenots, Le prophète, and L ' Africaine.

Together with Scribe, Meyerbeer reviewed many subjects before deciding, in 1832, on Les Huguenots.

Nevertheless, Meyerbeer, who ( as he wrote to a friend ) ' years ago ... swore to myself never to respond personally to attacks on my work, and never under any circumstances to cause or respond to personal polemics ', refused to be drawn on any of these matters.

Meanwhile in Paris Meyerbeer began to seek new libretti, initially considering Le prophète of Scribe, Le cinq mars by Henri Saint-Georges and eventually settling on Scribe's Vasco da Gama ( later to become L ' Africaine ), which he contracted to complete by 1840.

Meyerbeer insisted on Pauline Viardot for the role.

Meyerbeer wrote a number of works for court occasions, and also provided music, at the King's request, for the first staging on Berlin in 1856 of his brother Michael's play Struensee ( based on the life of Johann Friedrich Struensee ), which had also been proscribed under the pervious regime.

Meyerbeer had hoped to have Jenny Lind ( for whom he had written the part ) sing the lead role of Vielka, but the opera premiered on 7 December 1844 without her ( although she did appear in subsequent performances ).

In 1846 Meyerbeer began work on a new project with Scribe and Saint-Georges, Noëma, but in the following year Pillet was sacked from the opera and the direction was resumed by Duponchel.

As a consequence, Meyerbeer was at last able to stage Le prophète with a cast to his liking, ( including Viardot as Fidès ), and it premiered on 16 April 1849.

* May 2 – Giacomo Meyerbeer, German composer ( b. 1791 )

Giacomo Meyerbeer ( born Jacob Liebmann Beer ) ( 5 September 1791 – 2 May 1864 ) was a German opera composer, who with his 1831 opera Robert le diable and its successors gave the genre of grand opera ' decisive character '.

Act 3 scene 2 of Robert ( the ' Ballet of the Nuns ') at the Paris Opéra ( Salle Le Peletier ), 1832 The name Giacomo Meyerbeer first became known internationally with his opera Il crociato in Egitto — premiered in Venice in 1824 and produced in London and Paris in 1825 ; incidentally it was the last opera ever written to feature a castrato, and to require keyboard accompaniment for recitatives.

" Meyerbeer's Robert Le Diable: The First Singers of Robert and the ' Mario-Aria ' at the Beginning of Act 2 ( 1998 )", written for the Meyerbeer Fan Club, 15 May 1998.

* May 2-Giacomo Meyerbeer, composer ( b. 1791 )

* 1791 – Giacomo Meyerbeer, German composer ( d. 1864 )

* September 5 – Giacomo Meyerbeer, German composer ( d. 1864 )

Amongst the contributing factors may be the death of his ‘ enemy ’ Meyerbeer in 1864, Wagner ’ s own relative security under the patronage of the King of Bavaria, and increase in his personal confidence now that his Ring cycle was under way and he had completed his operas Tristan und Isolde and Die Meistersinger von Nürnberg.

The vitriolic campaign of Richard Wagner against Meyerbeer was to a great extent responsible for the decline of Meyerbeer's popularity after his death in 1864.

The fluctuating musical vocabulary in his writing enabled him to create any attitude, emotion, or impression at a moment ’ s notice, but at times the musical effects seem out of place or without cause ; a criticism also made of Meyerbeer.

Das Judenthum in der Musik ( German: " Jewishness in Music ", but normally translated Judaism in Music ; spelled after its first publications as ‘ Judentum ’ ) is an essay by Richard Wagner which attacks Jews in general and the composers Giacomo Meyerbeer and Felix Mendelssohn in particular.

This ' breakthrough ' in Paris was exactly what Meyerbeer had been aiming for over the past ten years ; he had been carefully preparing for it, developing contacts, and fully reaped his reward.

When the time came and the opera was not ready, Véron claimed his 30, 000 francs under this clause ; Meyerbeer was perhaps unique amongst composers in being able to pay this.

However, Meyerbeer had envisaged that the main role in L ' Africaine would be written for Falcon ; after the catastrophic failure of her voice in 1837, he turned instead to Le prophète.

Amongst those at the 47th performance in February 1850 was Richard Wagner, now an impoverished political exile ; the success of a work so fundamentally against his own operatic principles was one of the spurs to his spiteful anti-Jewish denunciation of Meyerbeer and Mendelssohn, ' Das Judenthum in der Musik ' ( 1850 ).

Heine on his sickbed, 1851It was probably a similar fatalism that led Meyerbeer never to enter public controversy with those who slighted him, either professionally or personally, although he occasionally displayed his grudges in his Diaries ; for example, on hearing Robert Schumann conduct in 1850: ' I saw for the first time the man who, as a critic, has persecuted me for twelve years with a deadly enmity.

It looks for it salvation to the German Messiah, Meyerbeer ; if he keeps it waiting much longer, its death agonies will begin ... It is for that reason ... that one only sees Robert le Diable and Les Huguenots turning up again when the mediocrities are forced to withdraw.

In his major theoretical statement, ' Opera and Drama ' ( 1852 ), Wagner objected to the music of Meyerbeer, asserting its superficiality and incoherence in dramatic terms, without referring explicitly to the composers's Jewish origins ; this work contains Wagner's well-known put-down of Meyerbeer's operas as ' effects without causes '.

* Roberts, John H. ' Meyerbeer: Le Prophéte and L ' Africaine ' ; in: David Charlton ( ed.

* Meyerbeer: Le prophète ( Scotto, McCracken, Hines ; Lewis, c1976 ) Sony

Meyerbeer also introduced Wagner to Ignaz Moscheles, who was also staying at Boulogne ; as Ernest Newman comments, this was " Wagner's first meeting with real international musical celebrities ".

Baron Wolf Adolf August von Lüttichau ( 1786 – 1863 ), General Director of the Dresden Opera House since 1824With the support of Meyerbeer, a staging of Rienzi was arranged in Dresden ; Meyerbeer wrote to the Director of the Opera in Dresden, Baron von Lüttichau, that he found the opera " rich in fantasy and of great dramatic effect ".

He studied piano first with his mother, and while the family was in Berlin between 1844 and 1846, he studied piano with Theodor Kullak and harmony and counterpoint with Siegfried Dehn ; during this time both he and his brother Anton attracted the interest and support of Mendelssohn and Meyerbeer.

Audran's compositions included a funeral march on the death of Giacomo Meyerbeer, which was performed with some success ; some songs in the Provençal dialect, including La cour d ' amour ( Marseilles, 1881 ), and various sacred pieces.

Giacomo Meyerbeer Les Huguénots ( Regina, Valentine ) – the première for Romania at Bucharest National Theatre in 1897 ;