(b Caen, 29 Jan 1782; d Paris, 12/13 May 1871). French composer, the foremost representative of opéra comique in 19th-century France. He was a pupil of Cherubini and, from 1823, a devotee of Rossini's music. The synthesis of French opéra comique with Rossini's spirited writing is best seen in the light works Auber produced with the librettist Scribe, from Fiorella (1826) and Fra Diavolo (1830) to La sirène (1844); in a sparkling style, these works are characterized by triadic melodies, dance-like rhythms, light orchestration and homophonic texture. He also wrote more serious opéras comique with Scribe as well as La muette de Portici (1828), important for inaugurating the epoch of French grand opera through its use of local colour, crowd portrayal and a modern revolutionary topic. He was director of the Paris Conservatoire (1842-70) and received many national honours.
works: Operas
Le maçon (1825)
Fiorella (1826)
La muette de Portici (1828)
Fra Diavolo (1830)
Gustave III (1833)
Lestocq (1834)
La part du diable (1843)
La sirène (1844)
Haydée (1847)
Manon Lescaut (1856)
Le premier jour de bonheur (1868)
36 others
Vocal music
c50 sacred works, incl. motels, hymns, mass sections, litanies
Auber, Daniel-François-Esprit (b Caen, 29 Jan. 1782, d Paris, 12 or 13 May 1871). French composer. He wrote no ballet scores but the interludes and divertissements included in his grand operas were important in the development of Romantic ballet, such as those in Le Dieu et la bayadère (chor. F. Taglioni, 1830), Gustave (chor. Taglioni, 1833), L'Enfant prodigue (chor. Saint-Léon, 1850), and Le Cheval de bronze (chor. L. Petipa, 1857). He spliced together the score for Mazilier's ballet Marco Spada (1857) from various of his own operas, and several choreographers have subsequently used his music for their ballets, among others Ashton (Les Rendezvous, 1937), V. Gsovsky (Grand Pas Classique, 1949), and L. Christensen (Divertissement d'Auber, 1959).
Auber, Daniel-François-Esprit (dänyĕl' fräNswä' ĕsprē' ōbĕr'), 1782-1871, French operatic composer. His greatest successes resulted from his collaboration with the librettist Scribe. Their first success together was Le Maçon (1825), and among the long succession that followed were Fra Diavolo (1830), Le Domino noir (1837), and La Part du diable (1843), witty, tuneful, sophisticated works that were very popular in their time. La Muette de Portici (1828, also known as Masaniello) was the model of the French grand opera of the 1830s.
A dominant figure in nineteenth century French opera, Auber was born to a royal huntsman in the Normandy region. Auber demonstrated facility at the keyboard as a child, and by 1799 he had produced a string quartet that demonstrated his awareness of emerging Romantic styles. Auber's first one-act stage work, Julie, reached the stage in an amateur performance in 1805; in 1811, Italian composer Luigi Cherubini saw a revised version and agreed to take Auber under his wing. A string of failures led Auber to abandon composition around 1813, but in 1819, Auber's father died bankrupt, and Auber turned back to composition as means of self-preservation. The following year, Auber enjoyed his first hit, Le bergère châtelaine.
In 1823, Auber met playwright Eugène Scribe, and their joint reign may be compared with that of Gilbert and Sullivan in England. Their first major hit, Le Maçon, appeared in 1825, and with it began "the golden age of the Opéra comique." In 1828, Auber and Scribe fulfilled a commission from the Académie Royale de Musique with La muette de portici, known in English-speaking lands as Masaniello. This grand opera, dealing with a seventeenth century Neapolitan revolt, was so effective that it provided a catalyst for a successful Belgian insurrection against Dutch occupation in 1830. That year, Auber and Scribe introduced Fra Diavolo, with its comic tale of banditry; this touched off an entire subgenre of comic bandit operas. In 1833, the partnership launched another grand opera, Gustave III; an Italian translation of Scribe's libretto later served as the basis for Verdi's Un Ballo in Maschera. Le Domino Noir of 1837 was the Auber/Scribe work most frequently revived in its own century, achieving 1,209 performances by 1909.
In 1842, Auber was named head of the Paris Conservatoire. He helped to build up this institution considerably over his 30-year tenure, enlarging the composition, piano, and orchestral instrument departments. In 1861, Scribe died, and Auber produced only two more operas afterward. The second of these, Rêve d'amour, was his final hit, produced in 1869 when Auber was 87 years old. In 1870, the Franco-Prussian War broke out, and Auber resigned from his post at the Conservatoire so that its building might be converted into a hospital. The aged composer did not long survive the horrors and privations of the Paris Commune, and died at age 89 in the midst of the German occupation.
For the next four decades, several of Auber's operas held the stage in Paris and elsewhere. Even early phonograph records testify to his tremendous popularity; witness Ellen Beach Yaw's recording of "C'est l'histoire amoureuse" (Manon Lescaut), made for the Gramophone & Typewriter company in London in 1898. By 1910, however, Auber's work was dropping from even the French repertory, with only Fra Diavolo keeping a tenuous hold. Changing times and tastes led to the neglect of Auber's music, with the exception of some of his overtures, in particular that for Les Diamants de la couronne (The Crown Jewels). Rossini accurately evaluated Auber's compositions as "little music, but by a great musician" Auber was the recipient of praise from kings, emperors, and eminent men of learning, and five biographies of him appeared during his own lifetime. ~ Uncle Dave Lewis, All Music Guide
