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911:". In his songs, Delibes shares with Bizet "a natural feeling for the theatre, and an ability to spin local colour", as in his chanson espagnole "Les filles de Cadix". Of other early songs, Johnson describes "Eclogue" and "Bonjour, Suzon" as "charm us with their unpretentious gaiety and delicacy, as well as their economy of means". Some of the songs evoke the period style of the 16th century, such as "Avril", "Chanson de l'oiseleur" and "Myrto", the last of which is a pre-echo of mélodies by
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369:, first performed at the Opéra in May 1870. It was an immediate success, and has remained among the most popular works in the classical ballet repertoire. The following year he resigned from the musical staff of the Opéra and devoted himself wholly to composition. In that year he married Léontine Estelle Denain.
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describes them: "Swanilda in her entry waltz, bright and graceful; Dr. Coppélius in stiff, dry counterpoint, the canonic device ingeniously applied also to Coppélia, the doll he has created; Franz in two themes, each sharing the same melodic shape of the first four notes, but the second having a more
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In addition to composing, Delibes earned a living as a critic (briefly in 1858); inspector of school music; and accompanist and later chorus master at the Opéra (from 1862 or 1863).. His appointment at the Opéra led to a new career as a composer of ballet music. In 1866 he was commissioned to compose
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shared
Tchaikovsky's view that Delibes revolutionised ballet composition: "Before he began to compose his ballets, music for dancing, for the most part, consisted of tinkle-tinkle melodies with marked rhythm." In Van Vechten's view, Delibes revolutionised ballet music by introducing in his scores "a
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in the harmonic techniques and subtleties of orchestration. The opera is sometimes seen as a vehicle for a star soprano, but
Macdonald writes that the two principal male characters, Nilakantha and Gérald, are strongly drawn, and the music is "melodic, picturesque and theatrically strong". Macdonald
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thought the libretto weak, but praised
Delibes' music: "his melodic vein, his impeccable taste, his scenic skill, his beautiful humour saved a work which, without him, would have gone unnoticed". The work was a success in Paris and in German opera houses, but did not establish itself in the
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was quickly taken up by opera houses across Europe, and productions followed in London (1885) and New York (1886); reviews of the
American production were highly enthusiastic; those of the British production were less so, but in both cities it prospered at the box-office.
428:, a medieval patriotic romance, premiered at the Opéra-Comique in 1880. Reviewers found the piece too episodic but praised the composer for "the rare and precise quality" of his melodies and "the delicate style in his writing" for the public. The Parisian critic for
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The first ballet in which the music constitutes not just the main, but the sole interest. What charm, what grace, what melodic, rhythmic and harmonic richness. I was ashamed. If I had known this music earlier, then of course I would not have written
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and Adam, Delibes' composition teacher at the
Conservatoire, from whom he had the example of "a sparkling operetta style". Later, consciously seeking to move from light popular works into a more elevated genre, his works show the influence of
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makes extensive use of leitmotifs for character and mood, and contains some vivid musical scene-painting. Delibes greatly enlarged on Adam's modest use of leitmotifs: each leading character is accompanied by music that portrays him or her;
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symphonic element, a wealth of graceful melody, and a richness of harmonic fibre, based, it is safe to hazard, on a healthy distaste for routine". Van
Vechten considers Delibes' scores to be the forerunners of 20th-century ballets such as
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writes that although
Delibes remained a church organist until 1871 (he held several posts, the last of them at the church of Saint Jean-Saint François from 1862), he was "clearly drawn more to the theatre found his métier at
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Its success was lasting; the oriental colour, the superb part for the title role, a well-constructed libretto and the real charm of the music, all contributed to a work on which, with the ballets, Delibes' fame has
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in 1859. A theory put forward in 1991 that
Delibes wrote the ballet music for the opera when it was revised in 1869 has not been supported in subsequent studies of Gounod by Yves Bruley (2015) and Vincent Giroud
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464:. He took his duties with great seriousness. The music critic Charles Darcours recalled Delibes' concern for his students and his anxiety for them to succeed in France's most prestigious musical award, the
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said of him, "If not the greatest French composer of his day, Delibes was the most characteristically French, and it can hardly be said that in his own line he leaves any successor of equal excellence".
915:. Johnson finds Delibes more suited to reflective than to passionate sentiments, and, in general, better in more of his earlier songs than his later. He brackets Delibes with his junior contemporary
891:, The dances, in a pastiche of antique style, show a keen ear for the nuances of period character in Goodwin's view. They are not often played in concert and are more familiar in recordings.
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and critic
Adolphe Jullien, Delibes "displayed such a wealth of melody as a composer of ballet music" that Minkus was "completely eclipsed". Delibes was immediately invited to compose a waltz-
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482:, consisting of a suite of pastiche medieval dances for orchestra ("Six airs de danse dans le style ancien") and a song with mandolin accompaniment ("Quand Bourbon vit Marseille").
166:), on 21 February 1836; his father worked for the French postal service and his mother was a talented amateur musician, the daughter of an opera singer and niece of the organist
307:("Two Old Guards"), Delibes's second opera, which enjoyed enormous success, attributable in Macdonald's view to the composer's gift for "witty melody and lightness of touch".
444:", premiered five years previously. The piece ran for more than a hundred performances, and was revived in Paris in 1908 but has not (in 2020) been staged there since then.
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675:, which he finds tending to the conventional; the work was originally conceived as an opéra-comique with spoken dialogue, and the recitatives were an afterthought.
295:, described as an "asphyxie lyrique". Over the next fourteen years he produced more comic operas, at an average rate of about one a year. Many were written for the
532:. Delibes, who had been intermittently ill for some time, died at his home in Paris after a sudden collapse shortly before his 55th birthday. He was buried in the
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170:. Delibes was the couple's only child. His father died in 1847 and the family moved to Paris, where soon after his twelfth birthday Delibes was admitted to the
495:, the manager, was not known for extravagance in his productions, but for this opera he surprised his audiences by the lavish staging. Macdonald writes:
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407:, which in Jullien's view confirmed Delibes' superiority in dance music. It was well received by the press and public. In 1877 Delibes was made a
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as songwriters – "charmers both a similarly eighteenth-century idea of the role of music in refined society: the unashamed giving of pleasure".
571:. Macdonald observes that in notices of Delibes' early music the same terms frequently recur: "wit, charm, elegance, grace, colour, lightness".
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were key works in the development of modern ballet, giving the music much greater importance than previously. He composed a small number of
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378:. In 1872 he published a collection including the songs "Myrto", "Les Filles de Cadiz" and "Bonjour Suzon". In 1873 he produced at the
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133:. In his later years he joined the faculty of the Conservatoire, teaching composition. He died at his home in Paris at the age of 54.
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Delibes had several attempts at writing more serious operas, and achieved a considerable critical and commercial success in 1883 with
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quotes the musicologist Fritz Noske's view that
Delibes' songs derive from the chansonnette, "lighter and more entertaining than the
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in the 1850s and 1860s, while also serving as a church organist, Delibes achieved public recognition for his music for the ballet
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sentimental feeling than the sprightly first theme". Delibes made extensive use of characteristic national dances, including the
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Despite the success of his two ballets, Delibes was still anxious to write a serious vocal work, and composed a grand scena,
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and Les Archives du spectacle record details of occasional productions in Europe and elsewhere. The work was staged by the
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international repertory. Its first performances in Britain (1894) and the US (2016) were by students of, respectively, the
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is a light opera in which "elaborate vocal ensembles and witty pastiche play a major part" (Macdonald). The more serious
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remains on the fringes of the operatic repertoire. It was produced at the Opéra-Comique in 1995, starring
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1933:
887:, Delibes's only composition for dance was a suite of six dances for the Comédie-française production of
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Delibes' last years were financially comfortable and socially secure. In 1884 he was elected to the
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as professor of composition at the Conservatoire, despite his own admission that he knew nothing of
363:, for the Variétés. The following year he came to wider public notice with his score for the ballet
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In Macdonald's view, Delibes' early compositions are clearly influenced by and in the tradition of
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considered it "the best opera, the one most likely to attain a world-wide popularity, since
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Jullien, Adolphe (1916). "Delibes, Clément Philibert Léo". In J. A. Fuller Maitland (ed.).
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As a boy, Delibes had an unusually fine singing voice; he was a chorister at the church of
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Giroud, Vincent (2019). "The Genesis, Transformations, Sources, and Style of Gounod's
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Born into a musical family, Delibes enrolled at France's foremost music academy, the
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in the late 19th- and early 20th-centuries were often mounted for stars including
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Delibes made the piano reduction of the orchestra part for the vocal score of
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Johnson, E. "Gounod or Delibes? – authorship of the ballet music in Faust",
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418:(The Death of Orpheus), given at the Trocadéro Concerts in 1878 during the
401:. Delibes returned to the Opéra in 1876, with a grand mythological ballet,
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174:. He studied first with Antoine-Jules Tariot (music theory), and then with
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In 1856 Delibes' first stage work was premiered at the Folies-Nouvelles:
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Not wishing to be typecast as a ballet composer, Delibes next turned to
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1415:, Royal Opera House Performance Database. Retrieved 14 January 2020
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100:, when he was twelve, studying under several professors including
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remain core works in the international ballet repertoire, and
526:. His last work, incomplete when he died, was another opera,
468:. In 1882 Delibes composed incidental music for a revival of
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to be introduced into the ballet of his former teacher Adam,
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1259:"Léo Delibes, Jean de Nivelle: Dossier de presse parisienne"
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1528:, Oxford University Press, 2005. Retrieved 14 January 2020
1501:, Oxford University Press, 2010. Retrieved 14 January 2020
908:
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30:"Delibes" redirects here. For others with the surname, see
1051:, Oxford University Press, 2001. Retrieved 12 January 2020
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in 1849. While still a student Delibes became organist of
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59:; 21 February 1836 – 16 January 1891) was a French
1472:, 1 April 1893, p. 9; and Noël and Stoullig, p. 110–111
1391:, Les Archives du spectacle. Retrieved 14 January 2020
907:, and less susceptible to the German influence of the
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Delibes was born in Saint-Germain-du-Val, now part of
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1403:, Metropolitan Opera House. Retrieved 14 January 2020
491:
was premiered at the Opéra-Comique on 14 April 1883.
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1164:Grymes, James (2015). Notes to Hyperion CD CDA6796
1652:". In Lorna Fitzsimmons; Charles McKnight (eds.).
291:of coal), a one-act comic piece to a libretto by
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922:
126:, some of which are still performed frequently.
1731:at the Index to Opera and Ballet Sources Online
658:– shows the influence of Bizet, with echoes of
145:is revived from time to time in opera houses.
1979:
1781:
1707:Les Annales du théâtre et de la musique, 1893
1633:Léo Delibes. Sa vie et ses oeures (1836-1892)
1553:Van Vechten, Carl (1922). "Back to Delibes".
563:and Gounod, as well as the slightly younger
359:In 1869 Delibes composed his last opérette,
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1986:
1972:
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1774:
1439:, Seattle Opera. Retrieved 14 January 2020
671:expresses reservations about the dramatic
650:ranks as Delibes' masterpiece, even above
1739:International Music Score Library Project
1690:Grove's Dictionary of Music and Musicians
1464:
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966:Grove's Dictionary of Music and Musicians
647:Grove's Dictionary of Music and Musicians
422:. He followed that with a serious opera,
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309:
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1705:Noël, Édouard; Edmond Stoullig (1894).
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1526:The International Encyclopedia of Dance
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1130:Bruley, pp. 170–176; and Giroud, p. 270
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89:(1883), which includes the well-known "
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1692:(second ed.). London: Macmillan.
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1427:, Operabase. Retrieved 14 January 2020
1967:
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1656:. New York: Oxford University Press.
1654:The Oxford Handbook of Faust in Music
1516:
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827:was greatly impressed by it, calling
782:The first few bars of Pizzicato from
54:
1709:(in French). Paris: G. Charpentier.
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1093:
1091:
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703:in the title role, and in 2000 with
2845:Tchaikovsky and the Belyayev circle
1675:. Oxford: Oxford University Press.
1493:Craine, Debra and Judith Mackrell.
1085:, 17 January 1891, p. 1 (in French)
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546:List of compositions by Léo Delibes
24:
3067:19th-century French male musicians
1993:
1507:
1484:
1450:Is it Time Once More for 'Lakme'?"
1379:
1222:
1198:Johnson, p. 129; and Curzon, p. 53
1081:Darcours, Charles. "Léo Delibes",
1045:"Delibes, (Clément Philibert) Léo"
731:
148:
25:
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1722:
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683:, but has not been staged by the
625:melody of striking originality".
330:, the other two being written by
3057:19th-century classical composers
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1948:
1947:
1495:"Delibes, Clément Philibert Léo"
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899:The pianist and musical scholar
769:Problems playing this file? See
757:Divertissement - Pizzicato from
747:
409:Chevalier de la Legion d'honneur
71:. His works include the ballets
1795:
1597:(in French). Paris: Bleu nuit.
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56:[klemɑ̃filibɛʁleodəlib]
3072:Burials at Montmartre Cemetery
1499:The Oxford Dictionary of Dance
1211:, 15 December 1894, p. 7; and
1133:
1124:
1111:
1102:
1003:
934:
447:
153:
104:. After composing light comic
13:
1:
3077:Conservatoire de Paris alumni
3062:19th-century French composers
1760:Leo Delibes Music Manuscripts
1635:(in French). Paris: Legouix.
1612:Bullock, Philip Ross (2016).
996:
923:Notes, references and sources
621:with what Macdonald calls "a
382:a comic opera in three acts,
63:composer, best known for his
48:Clément Philibert Léo Delibes
3112:Prix de Rome for composition
1808:List of operas and operettas
1749:Choral Public Domain Library
1314:The Orchestra Musical Review
1235:, 24 January 1891, pp. 69–70
197:and sang in the première of
186:(harmony) and, at eighteen,
7:
3102:French male opera composers
2888:Gothic Revival architecture
1755:Ballet Notes: "Léo Delibes"
1265:, August 2008, pp. 434–435
894:
278:
114:in 1866. His later ballets
27:French composer (1836–1891)
10:
3138:
3122:Pupils of François Benoist
2829:Neue Zeitschrift für Musik
2004:List of Romantic composers
1762:at the Library of Congress
1745:Free scores by Léo Delibes
1586:
743:Divertissement - Pizzicato
543:
452:In 1881 Delibes succeeded
29:
3097:French Romantic composers
3092:French operetta composers
2920:
2865:
2810:
2744:
2723:
2010:
2001:
1943:
1918:
1877:
1821:
1803:
1631:Curzon, Henri de (1926).
1481:Noël and Stoullig, p. 138
1338:, July 1910, p. 445; and
724:
399:Manhattan School of Music
2850:Tchaikovsky and The Five
1729:List of works by Delibes
1671:Johnson, Graham (2002).
964:gives the earlier date;
927:
579:
539:
386:(The King has Said It).
3082:French ballet composers
1673:A French Song Companion
1530:(subscription required)
1503:(subscription required)
1359:, 4 August 1883, p. 486
1316:, 27 March 1886, p. 620
1312:"'Lakmé' in New York",
1299:"Lakmé at the Gaiety",
1267:(subscription required)
534:Cimetière de Montmartre
510:Cimetière de Montmartre
221:and accompanist at the
3117:Pupils of Adolphe Adam
3087:French opera composers
2873:Common practice period
1934:Les Aventures de Pélée
1735:Free scores by Delibes
1468:"The Drama in Paris",
1334:"Revival of 'Lakmé'",
1303:, 13 June 1885, p. 364
1244:"The Drama in Paris",
844:
786:
736:
687:since 1947, or at the
667:Les pêcheurs de perles
638:
512:
502:
420:Exposition Universelle
395:Royal College of Music
320:
237:and new works such as
228:The Marriage of Figaro
212:St. Pierre de Chaillot
98:Conservatoire de Paris
44:
3107:People from La Flèche
1593:Bruley, Yves (2015).
1555:The Musical Quarterly
1340:"Lily Pons in 'Lakmé"
1290:, 21 April 1881, p. 7
1248:, 14 March 1880, p. 7
833:
781:
735:
631:
507:
497:
361:La Cour du roi Pétaud
356:when it was revived.
334:. In the view of the
313:
299:, the theatre run by
271:'s highly successful
83:(1876) and the opera
42:
2910:Romantic nationalism
2856:War of the Romantics
1813:List of compositions
1616:. London: Reaktion.
1579:Johnson, pp. 129–130
1286:"'Lakme' in Paris",
1121:, March 1991, p. 276
789:Influenced by Adam,
454:Napoléon Henri Reber
305:Deux vieilles gardes
285:Deux sous de charbon
2905:Musical nationalism
2823:Musical nationalism
1448:Crutchfield, Will.
1370:"Picture Book Lakmé
1277:Curzon, pp. 175–176
709:New York City Opera
172:Paris Conservatoire
2818:Indianist movement
2736:Romantic orchestra
1376:, 22 February 1995
1346:, 18 December 1942
1207:"Le Roi l'a dit",
1049:Grove Music Online
819:surpasses that of
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685:Metropolitan Opera
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524:Institut de France
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2835:New German School
2430:Felix Mendelssohn
2425:Fanny Mendelssohn
1961:
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1663:978-0-19-993518-5
1623:978-1-78023-701-5
1614:Pyotr Tchaikovsky
1604:978-2-35884-044-6
1543:in Bullock, p. 67
1456:16 September 1984
1357:The Musical World
1336:The Musical Times
1301:The Musical World
1263:Music and Letters
1257:Pottinger, Mark.
1233:The Musical World
1043:Macdonald, Hugh.
752:
705:Harolyn Blackwell
689:Royal Opera House
573:The Musical World
480:Comédie-Française
301:Jacques Offenbach
297:Bouffes-Parisiens
262:. His biographer
32:Delibes (surname)
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2590:C. Schumann
2575:Saint-Saëns
2470:Niedermeyer
2360:Leoncavallo
2330:Kalkbrenner
2105:Bortkiewicz
1886:Le Corsaire
1854:Flower Duet
1797:Léo Delibes
1219:, June 2016
825:Tchaikovsky
470:Victor Hugo
448:Later years
349:Le Corsaire
215: [
208:Paris Opéra
203:Le prophète
199:Meyerbeer's
154:Early years
91:Flower Duet
77:(1870) and
3041:Categories
2866:Background
2767:Intermezzo
2700:Wieniawski
2680:Vieuxtemps
2645:R. Strauss
2570:Rubinstein
2495:Paderewski
2465:Mussorgsky
2460:Moszkowski
2435:Mercadante
1681:1036173270
1401:"Archives"
1217:Opera News
997:References
877:Petrouchka
872:Stravinsky
771:media help
673:recitative
544:See also:
536:in Paris.
289:sous-worth
3019:Biography
2480:Offenbach
2455:Moscheles
2450:Moniuszko
2445:Meyerbeer
2400:Marschner
2385:MacDowell
2200:Donizetti
2145:Cherubini
2135:Chaminade
2060:Beethoven
2045:Balakirev
2035:Atterberg
2013:musicians
1927:La source
1893:La source
1715:777138181
1698:277251162
1355:"Waifs",
1170:904403063
1083:Le Figaro
987:Lily Pons
962:Le Figaro
839:Swan Lake
761:— 3081 KB
711:in 1984.
693:Operabase
561:Meyerbeer
552:Boieldieu
389:Le Figaro
354:La Source
327:La Source
316:La Source
182:(organ),
178:(piano),
160:La Flèche
111:La Source
106:opérettes
2946:Category
2923: ←
2802:Symphony
2665:Thalberg
2630:Spontini
2605:Sibelius
2600:Scriabin
2585:Schubert
2580:Sarasate
2545:Respighi
2540:Reinecke
2500:Paganini
2410:Massenet
2405:Masarnau
2390:Madetoja
2335:Kreisler
2325:Kalivoda
2270:J. Gomis
2255:Glazunov
2250:Giuliani
2140:Chausson
2130:Chadwick
2120:Bruckner
1953:Category
1901:Coppélia
895:Mélodies
821:Coppélia
791:Coppélia
652:Coppelia
644:– which
472:'s play
397:and the
375:mélodies
366:Coppélia
279:Composer
255:Gounod's
135:Coppélia
124:mélodies
116:Coppélia
74:Coppélia
61:Romantic
2969:Portals
2936:→
2898:Science
2777:Mazurka
2752:Ballade
2685:Voříšek
2655:Tárrega
2650:Taneyev
2610:Smetana
2565:Rossini
2520:Puccini
2515:Prudent
2475:Nielsen
2440:Méreaux
2415:Medtner
2380:Lysenko
2350:Lachner
2315:Joachim
2295:Herbert
2215:Farrenc
2180:Delibes
2155:Crusell
2100:Borodin
2090:Berwald
2080:Berlioz
2070:Bennett
2065:Bellini
2050:Bazzini
2030:Arensky
1919:Related
1878:Ballets
1870:, 1893)
1849:(1883)
1747:in the
1741:(IMSLP)
1737:at the
1641:1316090
1587:Sources
1470:The Era
1437:"Lakmé"
1425:"Lakmé"
1413:"Lakme"
1389:"Lakmé"
1288:The Era
1246:The Era
1209:The Era
951:(2019).
905:romance
852:Debussy
813:mazurka
805:czardas
500:rested.
478:at the
431:The Era
342:called
234:Fidelio
206:at the
65:ballets
52:French:
18:Delibes
3007:France
2956:Portal
2893:Poetry
2745:Genres
2690:Wagner
2670:Tobias
2535:Reicha
2510:Popper
2490:Pacini
2485:Onslow
2395:Mahler
2375:Lumbye
2340:Kuhlau
2320:Joplin
2310:Hummel
2300:Hérold
2290:Halévy
2275:Gounod
2260:Glinka
2240:Franck
2235:Foster
2205:Dvořák
2195:d'Indy
2185:Delius
2165:Czerny
2150:Chopin
2125:Busoni
2110:Brahms
2085:Bertin
2075:Bériot
1909:Sylvia
1904:(1870)
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1863:Kassya
1841:(1880)
1833:(1873)
1822:Operas
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883:After
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817:Sylvia
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784:Sylvia
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725:Ballet
715:Kassya
661:Carmen
656:Sylvia
556:Hérold
529:Kassya
441:Carmen
438:'s ...
404:Sylvia
319:, 1866
164:Sarthe
139:Sylvia
120:Sylvia
80:Sylvia
69:operas
3031:Music
2995:Opera
2883:Chess
2715:Ysaÿe
2695:Weber
2675:Verdi
2625:Spohr
2620:Sousa
2505:Paine
2420:Méhul
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2345:Kuula
2305:Holst
2285:Grieg
2265:Gomes
2245:Franz
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2225:Field
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2210:Elgar
2190:Denza
2115:Bruch
2095:Bizet
2055:Beach
2040:Auber
2025:Alkan
1846:Lakmé
1650:Faust
1563:JSTOR
1119:Opera
979:Lakme
947:Faust
928:Notes
862:Ravel
677:Lakmé
642:Lakmé
634:Lakmé
623:modal
580:Opera
565:Bizet
540:Music
516:Lakmé
488:Lakmé
458:fugue
436:Bizet
287:(Two
269:Hervé
259:Faust
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143:Lakmé
131:Lakmé
86:Lakmé
2772:Lied
2710:Wolf
2560:Rode
2550:Ries
2530:Raff
2355:Lalo
2020:Adam
1711:OCLC
1694:OCLC
1677:OCLC
1658:ISBN
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1618:ISBN
1599:ISBN
1166:OCLC
985:and
909:lied
870:and
857:Jeux
811:and
664:and
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569:Lalo
567:and
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