Meyerbeer

What Dominique Pagani says

Dominique Pagani mentions Meyerbeer mainly as the figure who dominates the Paris Opéra in the nineteenth century. He "calls the shots" there through grand historical opera, with Les Huguenots as the example, and crushes his fellow composers1. He comes back to Meyerbeer's role in Wagner's career consistently, from 2020 to 2024. Meyerbeer is said to have blocked Wagner's way in Paris23, and according to Dominique Pagani, Wagner's antisemitism stems essentially from having been snubbed by him. This resentment made that antisemitism virulent4. In a Musicosophie session on the question of modern music, he also uses Meyerbeer as a counter-example: although he comes after Beethoven, he is no more modern than him5. For Dominique Pagani, chronology alone therefore does not define musical modernity. Meyerbeer thus appears as a landmark in music history and in the sociology of opera, rather than as a composer whose work he examines closely.

1. 19 #15 Comment des sciences de l'histoire peuvent-elles être réelles?18 Feb 2021 · 1:30:08
2. 2#6.6 • La Logique du Sujet face à la reconstitution du nazisme29 Mar 2020 · 1:29:52
3. 3La matrice de toute illusion : le passé vécu comme présent4 Jun 2024 · 29:46
4. 4Musicosophie 1. Schubert et les maîtres chanteurs3 Dec 2020 · 40:48
5. 5Musicosophie 3. Qu'appelle-t-on une musique moderne?3 Dec 2020 · 5:43

Summary produced automatically from 6 of the passages below, to be reviewed; the numbers link to the moment in the session.