 The first signs of Meyerbeer breaking with the Italian traditions in which he had trained are in Il crociato in Egitto . Amongst other notable features of the opera were its lavish orchestral forces ( extending to two onstage military bands in the final act ) . The grandiosity of the work reflected the need to make an impact on the sophisticated and technologically advanced stages of London and Paris , for which it was extensively rewritten . Meyerbeer 's contribution was revealed at this stage to be the combination of Italian vocal lines , German orchestration and harmony , and the use of contemporary theatrical techniques , ideas which he carried forward in Robert and his later works . However Meyerbeer 's background in the Italian operatic traditions can be clearly seen as late as 1859 in the ' mad scene ' in Dinorah ( the virtuoso aria Ombre légère ) . 
 The first signs of Meyerbeer breaking with the Italian traditions in which he <a href='been_done' title='1'><mark>had</mark></a> trained are in Il crociato in Egitto . Amongst other notable features of the opera <a href='uninflect' title='2'><mark>were</mark></a> its lavish orchestral forces ( extending to two onstage military bands in the final act ) . The grandiosity of the work reflected the need to make an impact on the sophisticated and technologically advanced stages of London and Paris , for which it was extensively rewritten . Meyerbeer <a href='null_genetive' title='3'><mark>'s</mark></a>contribution was revealed at this stage to be the combination of Italian vocal lines , German orchestration and harmony , and the use of contemporary theatrical techniques , ideas which he carried forward in Robert and his later <a href='uninflect' title='4'><mark>works</mark></a> . However Meyerbeer <a href='null_genetive' title='5'><mark>'s</mark></a>background in the Italian operatic traditions can be clearly seen as late as 1859 in the ' mad scene ' in Dinorah ( the virtuoso aria Ombre légère ) . 
Da first signs of Meyerbeer breakin w tdaItalian traditions in which he done trained r in Il crociato in Egitto . Amongst other notable features of thdapera was its lavish orchestral forces ( extending to two onstage military bands in thedanal act ) . The grandiosity of the dak reflected the gotta make an impact on the sophisticated and technologically advanced stages of London and Paris , for which it was extensively rewritten . Meyerbeer  contribution was revealed at this stage to be the cdaination of Italian vocal lines , German orchestration and harmony , and the usdaf contemporary theatrical techniques , ideas which he carried forward in Robert and his later work . However Meyerbeer  background in the Itadan operatic traditions can be clearly seen as late as 1859 in the ' mad scene ' in Dinorah ( the virtdao aria Ombre légère ) .