The Freischoeffen also provided the subject for Berlioz's unfinished opera Les francs-juges, the overture to which provided the signature tune for ' Face to Face ', the well-known early series of British television interviews, conducted by the Rt Hon John Freeman MBE.

This company had staged the first performances of Gounod's Faust and his Roméo et Juliette, and of a shortened version of Berlioz's Les Troyens.

* First full performance of Hector Berlioz's opera, Les Troyens, takes place at Karlsruhe, 21 years after the composer's death

During the 1983-84 season the Met celebrated its 100th anniversary with an opening night revival of Berlioz's mammoth opera Les Troyens and with an eight-hour Centennial Gala concert that unfolded in two parts on October 22, 1983 and was broadcast on national television.

Hector Berlioz's Les nuits d ' été ( 1841 ) pioneered the use of the orchestra, and the French cycle reached a pinnacle in Gabriel Fauré's La bonne chanson, La chanson d ' Ève and L ' horizon chimérique and later in the works of Poulenc.

Her later concert appearances included Berlioz's Les nuits d ' été, Lieder of Mahler and Strauss, as well as Schoenberg's Erwartung with the Accademia di Santa Cecilia Orchestra and RAI Orchestra of Torino.

Incorporated within the production programming of Animating Opera is the America staged premiere of Messiaen's Saint-François d ' Assise, the complete version of Berlioz's Les Troyens, Virgil Thomson's The Mother of Us All, as well as a commission for a new work by John Adams and Peter Sellars entitled Doctor Atomic, which premiered on October 1, 2005.

Les troyens is Berlioz's most ambitious work, the summation of his entire artistic career, but he did not live to see it performed in its entirety.

The first five-act performance of the " complete " Les Troyens, spread over two nights, only took place at Karlsruhe in 1890, 21 years after Berlioz's death.

To mark the bicentenary of Berlioz's birth in 2003, Les Troyens was revived in productions at the Théâtre du Châtelet in Paris ( conducted by John Eliot Gardiner ), Amsterdam ( conducted by Edo de Waart ), and at the Metropolitan Opera ( with the American mezzo-soprano Lorraine Hunt Lieberson as Dido, conducted by James Levine ).

In 1972, Norman debuted at La Scala, where she sang the title role in Verdi's Aida and at London's Royal Opera at Covent Garden, where she sang the role of Cassandra in Berlioz's Les Troyens.

Norman followed these with her début at the Metropolitan Opera in 1983, appearing in Berlioz's Les Troyens as both Cassandra and Dido, a production which marked the company's 100th anniversary season.

Verrett's mezzo roles included Cassandra and Didon ( Berlioz's Les Troyens )- including the Met premiere, when she sang both roles in the same performance, Giuseppe Verdi's Ulrica, Amneris, Eboli, Azucena, Saint-Saëns ' Dalila, Donizetti's Elisabetta I in " Maria Stuarda ", Leonora in La favorita, Gluck's Orpheus, and Rossini's Neocles ( L ' assedio di Corinto ) and Sinaide in Moïse.

Other notable performances in Rankin's career include the starring role in CBS's television production of Carmen in 1954 and several productions at La Scala, including the role of Cassandra in Berlioz's Les Troyens in 1960.

Among them is a 1951 recording of Rankin's Amneris in Aida that was conducted by Herbert von Karajan for radio broadcast in Vienna, a recording of Verdi's Requiem at La Scala from that same year, and the 1960 La Scala production of Berlioz's Les Troyens.

From 1981 to 1983, Troyanos appeared in all three season opening nights at the Met —" typically enough ," James Levine, the conductor for all three, noted, " in three different styles and languages "— as Adalgisa in Bellini's Norma in 1981 ( opposite Renata Scotto ), Octavian in Strauss's Der Rosenkavalier in 1982 ( opposite Kiri Te Kanawa ), and Didon in Berlioz's Les Troyens in 1983 ( with Jessye Norman and Plácido Domingo ).

Along with Monna Vanna, her performances of such works as Berlioz's Les nuits d ' été and Mahler's Rückert Songs and Das Lied von der Erde could be heard on radio broadcasts of major American orchestras.

Hector Berlioz's Harold in Italy was written for solo viola and orchestra.

His father, a respected provincial physician and scholar, was responsible for much of the young Berlioz's education.

On Berlioz's return to Paris, a concert including Symphonie fantastique ( which had been extensively revised in Italy ) and Le retour à la vie was performed, with among others in attendance: Victor Hugo, Alexandre Dumas, Heinrich Heine, Niccolò Paganini, Franz Liszt, Frédéric Chopin, George Sand, Alfred de Vigny, Théophile Gautier, Jules Janin and Harriet Smithson.

In early 1844, Berlioz's highly influential Treatise on Instrumentation was published for the first time.

Berlioz's joke " If the Emperor of Russia wants me, then I am up for sale " was taken seriously.

The two tours of Russia ( the second in 1867 ) proved so financially successful that they secured Berlioz's finances despite the large amounts of money he was losing in writing unsuccessful compositions.

Both she and her husband were staunch supporters of Berlioz's music, and she was present at Berlioz's deathbed.

Berlioz's work as a conductor was highly influential and brought him fame across Europe.

Engel offers an explanation of Berlioz's ability to detect such things as in part due to the sheer nervous energy he was experiencing during conducting.

An unusual ( but telling ) example of the increase of Berlioz's fame in the 60s was an explosion of forged autographs, manuscripts, and letters, evidently created to cater for a much greater interest in the composer.

Simultaneous with Berlioz's discovery of Shakespeare was his immersion in the texts of true Romanticism.

At one point, Robert Schumann was motivated to publish a detailed rebuttal of one of Fétis ' attacks on Berlioz's Symphonie fantastique in his own Neue Zeitschrift für Musik journal.

The theme itself was taken from Berlioz's scène lyrique " Herminie ", composed in 1828.

Among the most conspicuous of Davis's projects with the orchestra was the LSO's most ambitious festival thus far, the " Berlioz Odyssey ", in which all Berlioz's major works were given.

Hector Berlioz's Symphonie fantastique was a musical narration of a hyperbolically emotional love story he wrote himself.

Berlioz's composition was heavily influenced by the play he had seen acted by Charles Kemble and Harriet Smithson in 1827, which had been rewritten by the 18th century actor David Garrick to have Juliet awaken from her death-like sleep before Romeo's death from ( a much slower acting ) poison.

From composition until the first performance, Berlioz's time was occupied with physical arrangements for the premiere: parts were copied, chorus parts lithographed, and rehearsals got underway.

It was the first of Berlioz's operas.

This complete version of Berlioz's work was directed by Scottish composer Erik Chisholm.

He was deeply involved in the 1864 Shakespeare Festival in Prague, conducting Berlioz's Romeo et Juliette and composing a festival march.

Premieres given by the orchestra include Berlioz's Symphonie fantastique, Saint-Saëns's Cello Concerto No. 1, and Franck's Symphony.

The full ASO Chorus has thrice visited Berlin, giving three performances on each occasion of Benjamin Britten's War Requiem ( 2003 ), Hector Berlioz's Grande Messe des Morts ( 2008 ), and Johannes Brahms's Ein Deutsches Requiem ( 2009 ) with the Berlin Philharmonic Orchestra under ASO Principal Guest Conductor Donald Runnicles.

Berlioz's son Louis attended each performance.

Even though the second movement " March of the Pilgrims " received an encore, this performance contributed to Berlioz's decision to conduct his own music in the future.

This was followed the next day with a performance of Hector Berlioz's opera Benvenuto Cellini conducted by Felix Weingartner which included a " dance spectacular " by Anna Pavlova.