Huguenot

A Huguenot (/ˈhjuːɡənɒt/ or /hjuːɡəˈnoʊ/; French: [yɡ(ə)no], is a member of a French Protestant denomination with origins in the 16th or 17th centuries. Historically, Huguenots were French Protestants inspired by the writings of John Calvin (Jean Calvin in French) in the 1530s, who became known by that originally derisive designation by the end of the 16th century. The majority of Huguenots endorsed the Reformed tradition of Protestantism.

Huguenot numbers peaked near an estimated two million by 1562, concentrated mainly in the southern and central parts of France, about one-eighth the number of French Catholics. As Huguenots gained influence and more openly displayed their faith, Catholic hostility grew, in spite of increasingly liberal political concessions and edicts of toleration from the French crown. A series of religious conflicts followed, known as the Wars of Religion, fought intermittently from 1562 to 1598. The wars finally ended with the granting of the Edict of Nantes, which granted the Huguenots substantial religious, political and military autonomy.

Les Huguenots

Les Huguenots (French pronunciation: ​[le ˈyg(ə)no]) is a French opera by Giacomo Meyerbeer, one of the most popular and spectacular examples of the style of grand opera. In five acts, to a libretto by Eugène Scribe and Émile Deschamps, it premiered in Paris in 1836.

Composition history

Les Huguenots was some five years in creation. Meyerbeer prepared carefully for this opera after the sensational success of Robert le diable, recognising the need to continue to present lavish staging, a highly (melo)dramatic storyline, impressive orchestration and virtuoso parts for the soloists – the essential elements of the new genre of Grand Opera. Coming from a wealthy family, Meyerbeer could afford to take his time, dictate his own terms, and to be a perfectionist. The very detailed contract which Meyerbeer arranged with Louis-Désiré Véron, director of the Opéra, for Les Huguenots (and which was drawn up for him by the lawyer Adolphe Crémieux) is a testament to this. While Meyerbeer was writing the opera, another opera with a similar setting and theme (Le pré aux clercs by Ferdinand Hérold) was also produced in Paris (1832). Like Meyerbeer's, Hérold's work was extremely popular in its time, although it is now forgotten.