Berlioz's developed a special predilection for the symphony over his career, writing in his memoirs that one movement in particular became a favorite: " If you now ask me which of my pieces I prefer, my answer will be that I share the view of most artists: I prefer the adagio ( the Love Scene ) in Romeo and Juliet.

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.

Since then she has been a regular guest at that summer festival, performing in Mozart's La Clemenza di Tito, Idomeneo, Cosi fan tutte, Mitridate, the Mozart pastiche Ombra Felice, and Berlioz's La Damnation de Faust.

Pierre Monteux ( first violist and then assistant conductor of the Colonne orchestra ) used Colonne's annotated score for his 1931 recording of Berlioz's Symphonie Fantastique.

Jacobs suggests that Berlioz's La damnation de Faust, a great favourite in Sullivan's formative years, may have been the model for Sullivan's trademark contrapuntal mingling of the rapid prattle of the women's chorus in Act I (" How beautifully blue the sky ") in 2 / 4 time with the lovers ' duet in waltz time.

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.

Berlioz's epic masterpiece Les Troyens, the culmination of the Gluckian tradition, was not given a full performance for almost a hundred years.

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

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.

In the 19th century, sacred music escaped from the church and leaped onto the concert stage, with large sacred works unsuitable for church use, such as Berlioz's Te Deum and Requiem, and Brahms's Ein deutsches Requiem.

Berlioz's Symphonie fantastique, a work famous for its innovative orchestration ( Berlioz 2002, xv ) is also a programme work and has both a march and a waltz and five movements instead of the customary four.

The Invitation to the Dance, although better known in Berlioz's orchestration ( as part of the ballet music for a Paris production of Der Freischütz ), has long been played and recorded by pianists ( e. g., Benno Moiseiwitsch Carl Tausig's arrangement ).

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

After initially rejecting the piece, Paganini, as Berlioz's Mémoires recount, knelt before Berlioz in front of the orchestra after hearing it for the first time and proclaimed him a genius and heir to Beethoven.

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

His time with Liszt also highlighted Berlioz's increasing lack of appreciation for Wagner's music, much to Liszt's annoyance.

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.

* The Lied and Art Song Texts Page List of the musical settings for most of Berlioz's major works, with translations into various languages, as maintained by Emily Ezust

He also worked as an accompanist at rehearsals and auditions for various staged works, including Berlioz's oratorio L ' enfance du Christ and Gounod's opera Mireille.

Gunsbourg remained for sixty years overseeing such premiere productions as Berlioz's La damnation de Faust in 1893 and the first appearances in January 1894 of the heroic Italian tenor, Francesco Tamagno in Verdi's Otello, the title role of which he had created for the opera's premiere in Italy.

On 23 April 1864, Smetana conducted Berlioz's choral symphony Roméo et Juliette at a concert celebrating the Shakespeare tercentenary, adding to the programme his own March for the Shakespearean Festival.

RCA recorded a handful of LPs with Steinberg and Berlioz's Symphonie Fantastique with Georges Prêtre during the transition to DG ( see William Steinberg for a complete list of commercial recordings ).

" Musically, the supposed ritual has been used as inspiration for such works as Night on Bald Mountain by Modest Mussorgsky and the fifth movement of Hector Berlioz's Symphonie Fantastique.

Similar criticisms have been voiced against the string concerti of other great composers, such as Beethoven's Violin Concerto and Hector Berlioz's Harold in Italy, for making the soloist " almost part of the orchestra.

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.

Occasional performances took place after Berlioz's death: in Hanover in 1879, Vienna in 1911, and as part of the inaugural season at the Théâtre des Champs-Élysées for six performances from 31 March 1913 conducted by Weingartner.

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.

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.

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.

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 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.

It was the first of Berlioz's operas.

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

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 ).

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

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.