Dinorah, or The pardon of Ploërmel, is one of Giacomo Meyerbeer's few forays into the world of the opéra-comique. The music and the libretto were almost completely his own creation. He had help from two librettists at its inception, but he expanded the initial one-act opera into a three-act work entirely on his own. The original libretto was by Barbier and Carre, and was derived from an old Breton legend about the pardon of the Blessed Virgin. Meyerbeer set the libretto, and then presented it to Perrin, the director of the Paris Opéra-Comique, who suggested that he expand it.

The resultant work is stunningly imaginative. It contains magical elements, a pastoral setting, dazzling vocalizing, and a plot worthy of a grand opera. The opera belongs to that nineteenth century genre which places the prima donna as the central force behind the story and music. Nevertheless, the story gave Meyerbeer ample opportunity for ensemble pieces as well. The two male protagonists, Hoël and Corentin, are often found in trio with Dinorah's virtuosic soprano coloratura. However, the plot also gives rise to duos containing a buffo element. The orchestrations contain storm music, delicate accompaniments, virtuosic duos with the voices, and dramatic effects. The pastoral setting is given a religious backdrop, as the people celebrate the feast of the Virgin and even close the opera in prayer. Meyerbeer used the chorus to open each act and set the stage for the story, but leaves the main body of the story telling to the three protagonists. He also composed a pastoral tableau for small choruses at the beginning of Act Three that acts as a point of repose before the dramatic conclusion to the opera.

Meyerbeer's Dinorah was so popular with the public that it remained in the repertoire of the Opéra-Comique of Paris until the end of the nineteenth century and beyond. By 1900 it was gaining popularity internationally. The incredible coloratura vocalizing of Dinorah is used to depict the imbalance of her mind, her light personality, and to cement her importance as the central character in the opera. The most famous number in the opera is known as the "Shadow Song" and occurs in the second act. Dinorah dances a mazurka with her shadow in the light of the moon. The elegant melody of Dinorah's vocal solo is elaborated with virtuosic fioritura. As a cloud passes over the moon, Dinorah's shadow disappears, and she sings a reflective middle section, full of sad, elegiac-like reverie. When her shadow returns, she goes back to her lively singing and dancing, closing the number with a brilliant cadenza to equally brilliant wind accompaniment.

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