When the grands opéras of Giacomo Meyerbeer were introduced to London audiences as a cluster in the mid-1800s, critics identified moments of understated musical and dramatic expression, and made little mention of more sensational dimensions, such as their impressive staging. With a focus on the 1849 staging of Le Prophète at the brand-new Royal Italian Opera in London, this article demonstrates that numerous critics were keen to endorse this new opera house, where most of the composer’s works were mounted, and that, to this end, they zeroed in on the most bare and restrained elements in his works so as to invest them with moral and intellectual relevance for Victorian audiences. Approaching Le Prophète as various London critics did is to see it anew and to consider alternatives to recent narratives which have taken material excess as a starting point for understanding the success of Meyerbeer’s grands opéras on the continent.

中文翻译：

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认真的迈耶啤酒：1849 年伦敦皇家意大利歌剧院的预言家

当。。。的时候大歌剧院Giacomo Meyerbeer 的作品在 1800 年代中期作为一个群体被介绍给伦敦观众，评论家发现了低调的音乐和戏剧表达的时刻，而很少提及更耸人听闻的维度，例如令人印象深刻的舞台。以 1849 年的分期为重点先知在伦敦全新的意大利皇家歌剧院，这篇文章表明，许多评论家热衷于为这个新歌剧院背书，作曲家的大部分作品都在这里安装，为此，他们把目光投向了最赤裸和最朴素的歌剧院。在他的作品中限制元素，以便为维多利亚时代的观众赋予道德和智力相关性。接近先知正如许多伦敦评论家所做的那样，重新审视它并考虑替代最近的叙述，这些叙述以物质过剩作为理解迈耶比尔的成功的起点大歌剧院在大陆上。