Frequently Asked Questions about the Meyerbeer Fan Club

Questions and Answers

Q1. Why Meyerbeer?

A1. No other composer of opera history has suffered a precipitous fall from popularity as did Meyerbeer. Once the most successful composer in all Europe and the undisputed master of French Grand Opera, his operas, which were once the staple of the major European venues, have virtually disappeared. While the reasons for this are complex, it is clear that the traditional wisdom -- that his operas are too expensive to perform, that his operas are too "showy", that our tastes have changed, that Meyerbeer was surpassed by Verdi and Wagner -- is not supported. Much of the traditional wisdom relies upon myths circulated by Meyerbeer's enemies both in his lifetime and thereafter, coupled with the fact that Meyerbeer himself, as a matter of conviction, refused to publicly respond to lies and rumors. Much of Meyerbeer's papers, diaries and correspondence which might have contributed to Meyerbeer scholarship did not surface publicly until the last thirty years and then only through the efforts of two German scholars, Heinz and Gudrun Becker; even so, a large amount of material became lost during the Third Reich period.

As such, a number of lovers of 19th century romantic opera -- those who are enamored of French Grand Opera, bel canto and the entire development of the genre of opera from the age of Spontini and Rossini through Verdi, Wagner and Puccini -- view Meyerbeer as an essential component (if not the dominant force) of that period, and a composer whose operas are well worth resurrecting.

There is another side to Meyerbeer that has often been ignored: his humanity, which marks him as a man ahead of his time, a role model for future generations. Despite tremendous pressure of the "enlightenment" which caused many of his generation to shed their ancestral heritage, Meyerbeer specifically retained his Jewish heritage, and was a God-fearing man. He died with a morning prayer in his pocket. Though the subject of growing racial anti-semitism from Wagner and others, he never wavered in his faith and he remained a universalist in thought and deed.

There is also a shared belief at MFC that Meyerbeer is important as a symbol of many other neglected composers and works of that period of operatic history, and that the general repertory of the major opera houses has become "wedded" to only a few select works of a few specific composers. We'd like to see the opera houses expand their repertory and include other worthy composers and operas.

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Q2. I don't know much about Meyerbeer. Why should I join the Meyerbeer Fan Club?

A2. Precisely for that reason. Through the MFC, you will learn about the importance of Meyerbeer and other neglected composers to the development of opera and music. Through our contacts in the music world, we've learned that young people in particular know very little of Meyerbeer, and it is the aim of the MFC to correct that. Hence the "Meyerbeer lives!" T-shirt -- it is intended to (and actually does) stimulate inquiries.

Before you plunk down your $25 you may wish to have some of early reactions to the "Meyerbeer Lives!" T-shirt.

These are what some of our new members have to say about it:

"The T-shirt is great--I love it!" Virginia Taylor

"The T-shirt came and it's a beauty! -- before, I couldn't figure out how a t-shirt could be $25.00. Now I understand." Tom Kaufman

MFC responds: This is a work of art, not just a T-shirt. It is a "fitting" tribute to the great Meyerbeer.

Registered members will also receive frequent e-mail updates containing more detailed information about Meyerbeer events, such as Le prophete in Vienna in 1998. You can obtain everything about Meyerbeer from this single source.

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Q3. What is the cost of joining the Meyerbeer Fan Club?

A3. For $25, you will receive the "Meyerbeer Lives!" 100% all cotton T-shirt, worth $25, so membership actually costs you nothing. We do ask that you register by filling out the form on the Feedback page, so we know how to contact you. The importance of registering as a member cannot be underestimated, since it is chiefly through the acquisition of numbers of members that we will be able to encourage the kind of opera programming that you would like to have. We will contact classical music radio stations, opera houses, orchestra conductors, singers etc. to spread the word that there are many fans of Meyerbeer and other neglected composers who want to have these works performed.

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Q4. What are the policies and practices of MFC?

A4. We established the MFC with few guiding principles, but they are important. As an homage to the man, who was gracious and compassionate in dealing with others, the works of no other composer will be defamed or derided by MFC. Even so, the relationship between Richard Wagner and Meyerbeer is of central importance to an understanding of the development of opera in the 19th century, and the MFC is a vehicle for illuminating that relationship. MFC will study the Meyerbeerian influences upon Wagner's music and will also discuss Wagnerian anti-semitism in some detail.

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Q5. Does the MFC also promote "other" neglected composers and works?

A5. Yes, absolutely. Bearing in mind that not all operas that are rarely performed are necessarily worthy, MFC members generally feel that many 19th century operas and French Grand Operas in particular, have been unjustifiably neglected.

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Q6. Does the MFC have a hidden agenda?

A6. We have an agenda, but it is not hidden. This is not a commercial enterprise masking itself as a fan club. Anything sold through the club is offered at cost or less than cost, and is done in order to promote the aims of the MFC. From time to time, FREE GIFTS are offered to members.

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Q7. How was the MFC formed?

A7. The Club began as the idea of two people, meeting on the internet, who felt passionately about Meyerbeer and expressed themselves on a conference thread run through the auspices of Opera News -- the magazine of the Metropolitan Opera Guild in New York. The topic of the thread was "Meyerbeer and other neglected composers." It was begun by Stephen Agus in early 1997, just a few months after he attended a performance of Meyerbeer's "L'etoile du nord" at the Wexford Festival (Mr. Agus had pledged to his wife in 1993 that wherever in the world a Meyerbeer opera will be performed, they would go). Many of those who contributed their thoughts to the thread encouraged the idea of establishing a club. One of the respondents, Prof. Manuel Marquez-Sterling (who also appeared on the thread under the pseudonym "Fides" after the character in Le prophete) was equally passionate about Meyerbeer, having heard Meyerbeer's works played on an old 78 r.p.m. machine in Cuba when he was a boy. Prof. Sterling and his wife were among the lucky audience to witness the Paris performance of Robert le Diable in 1986 (with Samuel Ramey and June Anderson). Prof. Sterling was the author of a play entitled "The Devil's Sauce" which has three main characters: Meyerbeer, Rossini and Wagner. He has also written a history of Cuba. Prof. Sterling is also the creator of the "Meyerbeer Lives!" T-shirt.

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Q8. Will I and other members of MFC have a voice to express my opinions and concerns?

A8. Yes, absolutely. We hit the internet for the first time in August, 1997 and it took a few weeks before we became registered on the search engines. You will note that much is listed as "under construction." We need you and your ideas to help us construct a website of which we can all be proud.

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