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This is a partial discography of Hector Berlioz's opera, Les Troyens. Its first performance on 4 November 1863 consisted of Acts 3 to 5 only. The first staged performance of the whole opera took place in 1890, 21 years after Berlioz's death. Colin Davis's recording in 1969 (released in 1970) was the first complete recording of this opera. [1]
Pages in category "Recordings of Hector Berlioz" The following 5 pages are in this category, out of 5 total. This list may not reflect recent changes. D.
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)
La damnation de Faust (English: The Damnation of Faust), Op. 24 is a French musical composition for four solo voices, full seven-part chorus, large children's chorus and orchestra [1] by the French composer Hector Berlioz.
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.
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 ...
Les nuits d'été (Summer Nights), Op. 7, is a song cycle by the French composer Hector Berlioz, setting six poems by Théophile Gautier. The cycle, completed in 1841, was originally for soloist and piano accompaniment. Berlioz orchestrated one of the songs in 1843 and did the same for the other five in 1856.
Berlioz described the premiere of Béatrice et Bénédict as a "great success" in a letter to his son Louis; he was particularly taken with the performance of Charton-Demeur (who would create the role of Didon in Les Troyens in Paris a year later) and noted that the duo which closes the first half elicited an "astonishing impact".
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