of Normandy, the father of William the Conqueror, alleged in some versions to have been the son of the Devil. The librettists padded out this outline with a variety of melodramatic incidents. The plot reflected 'the fantastic legendary elements which fascinated the opera public of 1830', a taste which had evolved from the 1824 Paris production of Carl Maria von Weber's Der Freischütz (in its French version Robin des bois), which also features a doubtful hero befriended by a demon promising him success. The libretto was originally planned as a three-act opéra comique for the Opéra-Comique theatre. Meyerbeer stopped work on the opera in 1827 when the theatre underwent financial difficulties. In August 1829, the composer and librettists agreed to refashion the work in a five-act form to meet the requirements of the Paris Opéra. This entailed some significant rewriting of the storyline, reducing the essentially comic role of Raimbaut (who vanishes after Act 3 in the final version, but whose antics – including the spending of Bertram's money – continued throughout in the earlier libretto). It also meant that the traditional 'pairing' of lovers in opéra comique (Robert/Isabelle paralleled throughout by the 'lower-class' Raimbaut/Alice) was swept aside in favour of concentration on the more sensational story-line of Robert's diabolic ancestry. The contract for the opera, specifying it as a "grand opera in five acts and seven scenes", was signed by the then director of the Opéra, Émile Lubbert, on 29 December 1829. Meyerbeer completed the composition of the work in Spa, Belgium in June and July 1830. Its characterisation as a "French grand opera" placed it in succession to Auber's La muette de Portici (1828) and Rossini's William Tell (1829) in this new genre. The composer undertook further work on the opera in early 1831, converting spoken passages to recitatives and adding ballet episodes, including, in Act 3, the "Ballet of the Nuns", which was to prove one of the opera's great sensations, and which Henri Duponchel had suggested to replace the original humdrum scenario set in Olympus. He also rewrote the two major male roles of Bertrand and Robert to suit the talents of Nicolas Levasseur and Adolphe Nourrit, respectively. Performance history Premiere seasons in Paris The opera premiered on 21 November 1831 at the Paris Opéra. The success owed much to the opera's star singers – Levasseur as Bertram, Nourrit as Robert — and to the provocative