under construction!
André, Naomi. “Women's Roles in Meyerbeer's Operas: How Italian Heroines are Reflected in French Grand Opera.” In Opera and Society in Italy and France from Monteverdi to Bourdieu, edited by Victoria Johnson, Jane F. Fulcher and Thomas Ertman, 87–114. Cambridge: Cambridge University Press, 2007.
Becker, Heinz. “‘Es ist ein ernstes Lebensgeschäft für mich’: Zur Genese von Meyerbeers Preußenoper ‘Ein Feldlager in Schlesien.’” In Traditionen–Neuansätze: Für Anna Amalie Abert (1906-1996), edited by Klaus Hortschantsky, 41–63. Tutzing: Hans Schneider, 1997.
Cruz, Gabriela. “Meyerbeer’s Music of the Future.” The Opera Quarterly 25, no. 3–4 (2009): 169–202.
Cruz, Gabriela. “Laughing at History: The Third Act of Meyerbeer’s L’Africaine.” Cambridge Opera Journal 11, no. 1 (1999): 31–76.
Döhring, Sieghart. “Zwischen kosmopolitischer Ästhetik und nationaler Verpflichtung: Giacomo Meyerbeer und seine Preußenoper Ein Feldlager in Schlesien.” Studia musicologica 52, no. 1–4 (March 2011): 341–50.
Döhring, Sieghart, and Heinz Becker. Giacomo Meyerbeer–Musik als Welterfahrung: Heinz Becker zum 70. Geburtstag. München: Ricordi, 1995.
Döhring, Sieghart, and Sabine Henze-Döhring. Giacomo Meyerbeer: Der Meister der Grand Opéra. München: C.H. Beck, 2014.
Dolan, Emily I., and John Tresch. “A Sublime Invasion: Meyerbeer, Balzac, and the Opera Machine.” The Opera Quarterly 27, no. 1 (2011): 4–31.
Everist, Mark, ed. Meyerbeer and Grand opéra from the July Monarchy to the Present. Speculum Mvsicae XXVIII. Turnhout: Brepols, 2016.
Everist, Mark. “Meyerbeer’s Il crociato in Egitto: Mélodrame, Opera, Orientalism.” Cambridge Opera Journal 8, no. 3 (1996): 215–250.
Everist, Mark. “Giacomo Meyerbeer, the Théâtre Royal de l’Odéon, and Music Drama in Restoration Paris.” Nineteenth-Century Music 17, no. 2 (1993): 124–148.
Gerhard, Anselm. Die Verstädterung der Oper: Paris und das Musiktheater des 19. Jahrhunderts. Stuttgart: J. B. Metzler, 1992. Translated by Mary Whittall as The Urbanization of Opera (University of Chicago Press, 1998).
Gooley, Dana. “Meyerbeer, Eclecticism, and Operatic Cosmopolitanism.” The Musical Quarterly 88, no. 2 (2016): 166–200.
Hesselager, Jens, ed. Grand Opera Outside Paris: Opera on the Move in Nineteenth-Century Europe. London: Routledge, 2018.
Hibberd, Sarah. French Grand Opera and the Historical Imagination. Cambridge: Cambridge University Press, 2009.
Körner, Axel. “From Hindustan to Brabant: Meyerbeer's L’africana and Municipal Cosmopolitanism in Post-Unification Italy.” Cambridge Opera Journal 29, no. 1 (2017): 74–93.
Lo, Kii-Ming. “Schauspielmusik als musikalische Interpretation des Dramas: Giacomo Meyerbeers Musik zu Michael Beers Struensee.” In Meyerbeer und das europäische Musiktheater, edited by Sieghart Döhring and Arnold Jacobshagen, 87–120. Thurnauer Schriften zum Musiktheater 16. Laaber: Laaber-Verlag, 1998.
Meyerbeer-Institut Schloss Thurnau. Meyerbeer-Studien. 4 vols. Munich: Ricordi, 1997–2002.
Newark, Cormac. “Metaphors for Meyerbeer.” Journal of the Royal Musical Association 127, no. 1 (2002): 23–43.
Protano-Biggs, Laura. “An Earnest Meyerbeer: Le Prophète at London’s Royal Italian Opera, 1849.” Cambridge Opera Journal 29, no. 1 (2017): 53–73.
Tusa, Michael C. “Mime, Meyerbeer and the Genesis of Der junge Siegfried: New Light on the ‘Jewish Question’ in Richard Wagner’s Work.” Cambridge Opera Journal 26, no. 2 (2014): 113–146.
Wiesmann, Sigrid. “‘Der Sühnung Werk, es ist vollbracht.’ Bemerkungen zu Meyerbeers Vielka.” In Meyerbeer und das europäische Musiktheater, edited by Sieghart Döhring and Arnold Jacobshagen, 121–26. Thurnauer Schriften zum Musiktheater 16. Laaber: Laaber-Verlag, 1998.
Zimmermann, Reiner. Giacomo Meyerbeer: eine Biographie nach Dokumenten. Berlin: Henschel, 1991.