Personne : Nicolas-Jean Le Froid de Méreaux

Titre Date Rôle
Laurette 1777-07-23 compositeur
Grisélide 1791-01-08 compositeur
Œdipe à Thèbes 1791-12-30 compositeur
Fabius 1793-08-09 compositeur
Daphné changée en laurier 1786-06-01 compositeur
Fête villageoise donnée à M. de La Garde la veille de Saint-Pierre 1770-06-28 compositeur
La Meunière enrichie 1767 compositeur
Alexandre aux Indes 1783-08-26 compositeur
La Rencontre imprévue, compliment de rentrée 1774 1774-04-11 compositeur
Le Retour de tendresse 1774-10-01 compositeur
Le Duel comique 1776-09-16 compositeur
La Réduction de Paris par Henri IV 1781 compositeur
Dormenon et Beauval 1787-09-15 compositeur

  • Sujet GROVE
    Objet David CHARLTON: 'Nicolas-Jean Le Froid de Méreaux', Grove Music Online ed. L. Macy (Accessed 31 May 2004), http://www.grovemusic.com :
    "Nicolas-Jean Le Froid de Méreaux (b Paris, 1745; d Paris, 1797). Organist and composer. He was educated in Paris by various French and Italian musicians. By 1767 he was organist at St Sauveur, Paris, and he was later organist of the Petits Augustins and of the royal chapel. He was unusual in his social context for working so consistently in both sacred and secular milieux. In a series of works composed between the ages of 27 and 32 for the opéra comique players and for the Concert Spirituel, he achieved particular recognition for the oratorio Samson. This was given four times, attracting listeners who found it both noble and picturesque. […]
    Méreaux's publicly performed opéras comiques were not very successful. D'Origny detected dramatic shortcomings in the music for Le retour de tendresse, but Laurette had an early flurry of enthusiasm. The libretto of Alexandre aux Indes was criticized for overzealous limitation of love interest, and the music was deemed derivative. It certainly echœs the gestures of Gluck, but remains lyrical; there is extensive use of the clarinet, and brief use of an Indian cymbal (‘Ind. cimbale’) and a ‘Gros tambour’in Act 1. Œdipe et Jocaste (known under various titles) was well received and contains music of great vigour, especially the D minor trio for Jocasta, Œdipus and Phorbas in Act 2. Méreaux wrote parts for the new ceremonial Revolution instruments (tuba curva and buccin), but they were not copied for use by the Opéra staff." (extrait de l'article)
    Utilisateur MM