...of romanticism:
https://www.prestomusic.com/classical/products/8767654--jean-baptiste-lemoyne-phedre (https://www.prestomusic.com/classical/products/8767654--jean-baptiste-lemoyne-phedre)
<<Completed in 1786, it is an example of an opera originating from the transitional phase towards the end of the Classical era, with the quickly growing shoots of Romanticism showing through strongly.>>
http://www.musicweb-international.com/classrev/2020/Aug/Lemoyne-Phedre-BZ1040.htm (http://www.musicweb-international.com/classrev/2020/Aug/Lemoyne-Phedre-BZ1040.htm)
This is about as far back in time as UC can go (1786) - but this wonderful opera is surely on the cusp of our chosen era. Pre-echoes, anyone?
I was going to post about this but feared it was outside the boundaries. Truly a beautiful work, and amazing it went neglected for so long. Hopefully his Électre will be resurrected in the future, as well...
The point is, I think, that it straddles the boundary between classicism and early romanticism. That's what makes it exceptionally interesting.
The point - for me - is that it's an interesting (and beautiful) interlude between Gluck, and Spontini.
Spot-on!
My copy's now arrived.
It's a really exciting work in a style that's both of its time and forward-looking. So my question (as an utter ignoramus concerning this corner of the operatic repertoire) is this: What are the historical steps that take us from Lemoyne/Phèdre all the way to Berlioz/Les Troyens? Gossec? Cherubini? Méhul? Spontini? Auber? Meyerbeer?
Help.......!
Well I'm far from an expert, but for me the path from Lemoyne to Berlioz isn't quite a linear one; it could almost be looked at as a hopscotching among some of the names you've mentioned. Lemoyne was a disciple of Gluck, and I personally can see a thread from Lemoyne that touches both Mehul and Spontini and proceeds directly to Berlioz. An argument could be made to include Cherubini in there (somewhere) as well. Not being very familiar with Meyerbeer (apart from the fact that he owed a bit to Spontini, and told Chopin that he played out of time) I wouldn't know quite where to place him, if at all, in the mix. And the waters are further muddied by the fact that it was Électre (which preceded Phedre) that was considered at the time to be the innovative work (rudimentary leitmotif). I'd love to know why Bru Zane chose to record Phedre over Électre...
My devalued two-cents worth.
No, that's very helpful. Thanks.
This has been one of the most exciting operatic discoveries of recent years. The sheer power of Lemoyne's writing, especially for brass, has held me in its grip throughout. I never thought I'd like this corner of the repertoire. How wrong I was! A truly inspiring work and a stupendous performance and recording.