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Berlioz by August Prinzhofer, 1845. Louis-Hector Berlioz [n 1] (11 December 1803 – 8 March 1869) was a French Romantic composer and conductor. His output includes orchestral works such as the Symphonie fantastique and Harold in Italy, choral pieces including the Requiem and L'Enfance du Christ, his three operas Benvenuto Cellini, Les Troyens and Béatrice et Bénédict, and works of hybrid ...
Berlioz's complete music criticism is being collected and edited by l’Association Nationale Hector Berlioz as Hector Berlioz: Critique Musicale 1823–1863. The complete edition will comprise ten volumes: Volume 1: 1823–1834, ed. by H. Robert Cohen and Yves Gérard (1996)
Hector Berlioz photographed by Pierre Petit (1863).. French composer Hector Berlioz wrote a number of "overtures", many of which have become popular concert works. They include true overtures, intended to introduce operas, but also independent concert overtures that are in effect the first orchestral tone poems.
Berlioz threw himself into writing the score in the summer of 1826: the first two acts were finished by June, and he composed the third act in July and August and added the final touches in September. Unfortunately for Berlioz, the Odéon could not obtain government licensing to stage new French operas and Les francs-juges was shelved. The ...
Les Troyens (pronounced [le tʁwajɛ̃]; in English: The Trojans) is a French grand opera in five acts, running for about five hours, [1] by Hector Berlioz. [2] The libretto was written by Berlioz himself from Virgil's epic poem the Aeneid; the score was composed between 1856 and 1858.
Roméo et Juliette is a seven-movement symphonie dramatique for orchestra and three choruses, with vocal solos, by French composer Hector Berlioz. Émile Deschamps wrote its libretto with Shakespeare's play as his base.
Harold en Italie, symphonie avec un alto principal (Harold in Italy, symphony with viola obbligato), as the manuscript describes it, is a four-movement orchestral work by Hector Berlioz, his Opus 16, H. 68, written in 1834.
Berlioz's music was usually received with great hostility by Parisian audiences and critics, who generally accused it of being bizarre and discordant. Yet L'enfance du Christ was an immediate success and was praised by all but two critics in the Paris newspapers.
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