Personne : Louis Joseph/Claude Saint-Amand/Saint-Amans

Titre Date Rôle
La Coquette de village 1771-09-19 compositeur
L’Occasion Inconnue compositeur
Le Prix de l’arc 1785 compositeur
Alvar et Mincia 1770-06-13 compositeur
Le Poirier 1772-06-21 compositeur
La Mort de Didon 1776 compositeur
Oroès Inconnue compositeur
Daphnis et Thémire 1778 compositeur
La Fausse veuve 1778 compositeur
L’Amour et Psyché, 3e acte des Fêtes de Paphos 1758-05-09 compositeur
La Fête de Flore 1770-11-13 compositeur
L’Heureux démenti 1794 compositeur
Aspasie 1795 compositeur
Le Pauvre homme 1797 compositeur

  • Sujet Grove Music Online
    Objet [extrait de:] Elisabeth COOK: 'Saint-Amans, Louis Joseph', Grove Music Online ed. L. Macy (Accessed 16 June 2004), http://www.grovemusic.com :
    "Saint-Amans [Saint-Aman, Saint-Amand, Saint-Amant], Louis Joseph (Claude) (b Marseilles, 26 June 1749; d Paris, c1820). French composer. He abandoned law studies to travel around southern France with an Italian troupe performing opere buffe, and then spent three years in Italy as tutor to the children of a Swiss baron. Having studied the music of several Italian composers, he decided to pursue a career as an opera composer in Paris, arriving in 1769 and making his début the following year with the opéra comique Dom Alvar et Mincia. As neither this, nor two other works for the Comédie-Italienne, was particularly successful, Saint-Amans turned to the Opéra and composed a number of ballets and tragédies. Most of these remained unperformed, although he was invited to write French recitative and ballets for Sacchini’s L’olympiade (1777). He moved to Brussels in 1778 and, during a six-year period as conductor of the Théâtre de la Monnaie, composed further works that were well received. After returning to Paris he was appointed professor of singing at the Ecole Royale de Chant (later the Conservatoire). He continued to write opéras comiques until the early years of the 19th century, but lack of critical acclaim and a move to Brest (following the loss of his position at the Conservatoire) may have led him to abandon composing for the stage during his last 15 years. […]
    […] That Saint-Amans was overshadowed by more successful contemporaries is evident from reviews criticizing the lack of melodic invention and harmonic design in his music, although Burney commented favourably on the overture to Dom Alvar et Mincia. His reworking of operas by earlier composers – Le poirier (Vadé), Ninette à la cour and La fée Urgèle (Duni) – met with greater success, but the charming simplicity of such works had, by the late 18th century, become distinctly outmoded."
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