MEYERBEER, rnre-bar, Giacomo (Ital ianized form of Jakob Meyer Beer), German composer: b. Berlin, 5 Sept. 1791; d. Paris, 2 May 1864. His father, Jakob Beer, was a rich banker of Jewish descent, and of high reputa tion in the commercial world. The son gave early proof of his devotion to the art of music, and at nine was regarded as a masterly pianist in a city famous for its excellent musicians. After studying composition under Bernhard Anselm Weber, he entered in 1810 the school of the Abbe Vogler at Darmstadt, where for three years he had the companionship of Karl Maria von Weber (q.v.). An intimate friend ship sprang up between them, which was only interrupted by the death of the latter. While at Darmstadt Meyerbeer composed a cantata, 'Gott and die Natur,> which brought him the appointment of court musician to the grand duke. In 1811 his opera 'Jephthas Geliibde' was produced at Munich, but failed to please the audience, though highly praised by Weber, Vogler and other musical authorities. Dis couraged by its public reception, Meyerbeer went to Vienna, where he made his debut as a pianist with such success that he seemed des tined to eclipse the fame of all contemporary artists. Commissioned by the court of Vienna he produced 'Alimelek, oder die beiden Kali fen,' which was no more successful than his former effort. He was induced to visit Italy, and became a convert to the new musical school of that country. He rapidly composed in this style a series of operas, which were gen erally well received: 'Romilda e Costanza' (1818) ; 'Semiramide riconosciuta' (1819); 'Emma di Rcsburgo' (1819); 'Margherita d'Anjo) (1820); 'L'Esule di Granata> (1822); and 'V crociato in Egitto' (1824). The suc
cess of the last-mentioned opera traveled be yond the Alps, and the composer was invited to Paris to superintend the preparations for the production of the 'Crociatol at the Grand Opera, where it met with an enthusiastic re ception. In 1831 his 'Robert le Diable' was produced for the first time, and the excitement it caused was perhaps unparalleled on the Parisian stage. Meyerheer had ceased to he a pupil of Rossini, and 'Robert' combined in a singular degree oriental gorgeousness, German massiveness, French vivacity and Italian bril liancy, which the preceding works of the com poser had not prepared the world to expect. He reached the climax of his fame by his next opera, 'Les Huguenots' (1836). He was ap pointed Royal music director at Berlin in 1842, and returned to Paris in 1849. 'Les Huguenots> was followed at long intervals by 'Le Prophete' (1849); 'Pierre It Grand> ('L'Etoile du Nord' 1854); 'Le Pardon de
Dinorah' 1858); and 'L'Afri caine> (1865). The composer did not live to see the production of his last work. Besides his operas he wrote many songs, an oratorio, cantatas, a Te Deum, music for the tragedy of