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Daniel François Esprit Auber, circa 1860s, by Nadar

Daniel François Esprit Auber (French: [danjɛl fʁɑ̃swa ɛspʁi obɛːʁ]; 29 January 1782 – 12/13 May 1871) was a French composer.


The son of a Paris print-seller, Auber was born in Caen in Normandy. Though his father expected him to continue in the print-selling business, he also allowed his son to learn how to play several musical instruments. His first teacher was the Tirolean composer, Josef Alois Ladurner (1769–1851). At the age of 20 Auber was sent to London for business training, but he was obliged to leave England in 1804 when the Treaty of Amiens was breached.

Daniel François Esprit Auber

Auber had already attempted musical composition, and at this period produced several concertos pour basse, modelled after the violoncellist Lamare, in whose name they were published. The praise given to his concerto for the violin, which was played at the Paris Conservatoire by Mazas, encouraged him to undertake a resetting of an old comic opera, Julie (1811). He also began to study with the renowned Luigi Cherubini.[1]

In 1813 the unfavourable reception of his one-act debut opera Le Séjour militaire put an end for some years to his attempts as composer. But his failure in business, and the death of his father in 1819, compelled him once more to turn to music. He produced another opera, Le Testament et les billets-doux (1819), which was no better received than the former. But he persevered, and the next year was rewarded by the complete success of La Bergère châtelaine, an opera in three acts.[1]

This was the first in a long series of brilliant successes. In 1822 began his long association with librettist Eugène Scribe. Their first opera, Leicester, shows evidence of the influence of Gioachino Rossini in its musical style. Auber soon developed his own voice, however: light, vivacious, graceful, and melodious—characteristically French.[1] Le maçon (1825) was his first major triumph, staying in the repertory until the 20th century, with 525 performances at the Opéra-Comique alone. An ensemble from the latter found its way into Herold's ballet La Somnambule (source of Bellini's La sonnambula) as an air parlante (a way of explicating the plot through the words of a relevant operatic aria or salon piece).

Portrait of D.F.E. Auber from sheet music for Lestocq (Boston: William H. Oakes, 19th century)

Auber achieved another triumph in La muette de Portici, also known as Masaniello after its hero. Produced in Paris in 1828, it rapidly became a European favourite, and the foundation work of a new genre, grand opera, that was consolidated by Rossini's Guillaume Tell the following year. Its characteristic features are a private drama staged in the context of a significant historical event in which the chorus is dramatically engaged as a representative of the people, varied and piquant musical textures, grandiloquent marches, spectacular scenic effects and a statutory ballet. The duet from La Muette, Amour sacré de la patrie (meaning "Sacred Love of the Homeland"), was welcomed as a new Marseillaise;[1] its performance at Brussels on 25 August 1830, in which the great tenor Adolphe Nourrit sang the leading tenor role, engendered a riot that became the signal for the Belgian Revolution that drove out the Dutch. La Muette broke ground also in its use of a ballerina in a leading role (the eponymous mute), and includes long passages of mime music.

Official and other dignities testified to the public appreciation of Auber's works. In 1829 he was elected a member of the Institut de France. Fra Diavolo,which premiered on 28 January 1830, was his most successful opera. That same year, 1830, he was named director of the court concerts. Next year, on 20 June 1831, he had another big success, with Le Philtre, starring Adolphe Nourrit. The libretto was translated into Italian and set by Donizetti as L'elisir d'amore, one of the most successful comic operas of all time.

Two years later, on 27 February 1833, Gustave III, his second grand opera, also triumphed and stayed in the repertory for years. The libretto was to be used twice more, first by Saverio Mercadante for Il reggente, with the action transferred to Scotland, and, next by Giuseppe Verdi, as Un ballo in maschera. He enjoyed several more successes, all at the Opéra-Comique. These were Le cheval de bronze (1835), L'Ambassadrice (1836), Le domino noir (1837), Les diamants de la couronne (1841) and La part du diable (1843).

Daniel François Esprit Auber (1869)

In the meantime, in 1842, at the wish of King Louis Philippe, he succeeded Cherubini as director of the Conservatoire. Auber was also a member of the Legion of Honour from 1825, and attained the rank of commander in 1847.[1] That year also saw the premiere of Haydée, another opéra comique, even though it was on a serious subject. The tenor lead in Haydée was sung by the same Gustave Roger who, two years later, created the title role in Giacomo Meyerbeer's Le prophète at the Opéra. Napoleon III made Auber his Imperial Maître de Chapelle in 1857.[1]

In his later years, Auber's output slowed down considerably. The 1850s were marked by Manon Lescaut, an opéra comique with a tragic end (1856), and revisions of Le cheval de bronze and Fra Diavolo (both 1857). He had one major success in the 1860s: Le premier jour de bonheur (Opéra comique, 1868). Despite his slowdown in composing, he remained a well-loved figure, known for witty sayings and personal generosity. He survived the German siege of Paris in 1870–71, but died during the upheaval of the Paris Commune on 12 or 13 May 1871.

Today, the Rue Auber leads up to the Paris Opera House and the nearest RER station is called Auber.


See also[edit]


  1. ^ a b c d e f  One or more of the preceding sentences incorporates text from a publication now in the public domainChisholm, Hugh, ed. (1911). "Auber, Daniel". Encyclopædia Britannica 7 (11th ed.). Cambridge University Press. p. 889. 

External links[edit]

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17996 videos foundNext > 

Daniel Auber - The Crown Diamonds - Overture

Daniel Auber - The Crown Diamonds - Overture Watch In High Quality: http://www.youtube.com/watch?v=gatHwhSzJDE&fmt=18.

Daniel Auber - Gustave III - First ballet

Auber can be called "the French Rossini", there is just so many things in common between the two. In particular, both composers are credited with the creatio...

Daniel-François-Esprit Auber - La Muette de Portici - Ouverture

Daniel-François-Esprit Auber Work: La Muette de Portici, grand opéra in five acts, first performance 29 February 1828, Grand Opéra, Paris. Libretto: Eugène S...

Daniel-François-Esprit Auber - Fra Diavolo - Ouverture

Daniel-François-Esprit Auber Work: Fra Diavolo ou L'Hôtellerie de Terracine, opéra comique in three acts, first performance 28 January 1830, Théâtre Feydeau,...

Daniel Auber - Fra Diavolo - "Si, domani!" (Lucianna Serra)

"Fra Diavolo" is considered Auber's masterpiece comic opera, it is one of the most strikingly charming and gentle comic operas I had the pleasure to hear. It...

Daniel-François-Esprit Auber - La Sirène - Ouverture

Daniel-François-Esprit Auber Work: La Sirène, opéra comique in three acts, first performance 26 March 1844, Opéra-Comique, Paris. Libretto: Eugène Scribe Ouv...

Daniel-François-Esprit Auber - Gustave III, ou Le bal masqué

Daniel-François-Esprit Auber Work: Gustave III, ou Le bal masqué, opéra historique in five acts, first performance 27 February 1833, Grand Opéra, Paris. Libr...

Daniel Auber - Fra Diavolo - "Non temete, Milord" (Lucianna Serra)

Here is Zerlina's first scene in Act Two from Auber's "Fra Diavolo". The scene opens with a short recitative, as Zerlina runs onto the stage on orders of the...

Auber - Ouverture to "Le Cheval de bronze" (1835)

Daniel-François-Esprit Auber (1782-1871) BBC Philharmonic conducted by Yan Pascal Tortelier.


Fra Diavolo - Giuseppe Sabbatini Zerline ( Zerlina ) - Sumi Jo Lord Cockburn - Alessandro Corbelli Lady Pamela - Francesca Franci Lorenzo - Francesco Piccoli...

17996 videos foundNext > 

2 news items

Italiani Nel Mondo
Mon, 04 Aug 2014 09:30:00 -0700

Romani aveva derivato il libretto da un testo scritto l'anno prima da Eugene Scribe per il compositore Daniel Auber, Le Philtre (Il filtro). Donizetti ebbe a disposizione solo quattordici giorni di tempo per consegnare il suo lavoro, sette dei quali ...

Arte.go (Comunicati Stampa)

Arte.go (Comunicati Stampa)
Tue, 05 Aug 2014 07:37:30 -0700

L'opera andò in scena per la prima volta il 12 maggio del 1832 al Teatro della Cannobiana di Milano, che l'aveva commissionata in sostituzione di un'opera che non era stata preparata in tempo da un altro autore. Romani aveva derivato il libretto da un ...

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