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die herself. The other women acknowledge the accuracy of
Cassandre's prophecies and their own error in dismissing her. Cassandre then calls upon the Trojan women to join her in death, to prevent being defiled by the invading Greeks. One group of women admits to fear of death, and Cassandre dismisses them from her sight. The remaining women unite with Cassandre in their determination to die. A Greek captain observes the women during this scene with admiration for their courage. Greek soldiers then come on the scene, demanding the Trojan treasure from the women. Cassandre defiantly mocks the soldiers, then suddenly stabs herself.
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534:, Berlioz permitted the Parisian music editors Choudens et C to publish the vocal score as two separate operas. Only 15 copies of the first edition were printed, at the composer's expense. In this published score, he introduced a number of optional cuts which have often been adopted in subsequent productions. Berlioz complained bitterly of the cuts that he was more or less forced to allow at the 1863 Théùtre Lyrique premiere production, and his letters and memoirs are filled with the indignation that it caused him to "mutilate" his score.
236:, then never come back here, for I do not want to see you ever again.' This was more than enough to decide me. Once back in Paris I started to write the lines for the poem of Les Troyens. Then I set to work on the score, and after three and a half years of corrections, changes, additions etc., everything was finished. the work over and over again, after giving numerous readings of the poem in different places, listening to the comments made by various listeners and benefiting from them to the best of my ability ... ."
2284:ĂnĂ©e then comes on stage, singing of his despair at the gods' portents and warnings to set sail for Italy, and also of unhappiness at his betrayal of Didon with this news. The ghosts of Priam, ChorĂšbe, Hector and Cassandre appear and relentlessly urge ĂnĂ©e to proceed on to Italy. ĂnĂ©e gives in and realizes that he must obey the gods' commands, but also realizes his cruelty and ingratitude to Didon as a result. He then orders his comrades to prepare to sail that very morning, before sunrise.
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There is suddenly a sound of what seems to be the clashing of arms from within the horse, and for a brief moment the procession and celebrations stop, but then the
Trojans, in their delusion, interpret it as a happy omen and continue pulling the horse into the city. Cassandre has watched the procession in despair, and as the act ends, resigns herself to death beneath the walls of Troy.
294:) and a prologue. As Berlioz noted bitterly, he agreed to let Carvalho do it "despite the manifest impossibility of his doing it properly. He had just obtained an annual subsidy of a hundred thousand francs from the government. Nonetheless the enterprise was beyond him. His theater was not large enough, his singers were not good enough, his chorus and orchestra were small and weak."
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grand and novel. You must write this opera, this lyric poem; call it what you like and plan it as you wish. You must start work on it and bring it to completion.' As I persisted in my refusal: 'Listen,' said the princess, 'if you shrink before the hardships that it is bound to cause you, if you are so weak as to be afraid of the work and will not face everything for the sake of
321:, but during the rehearsals, a faulty switch nearly caused a disaster. The entries of the builders, sailors, and farm-workers , were omitted because Carvalho found them dull; likewise, the scene for Anna and Narbal and the second ballet . The sentries' duet was omitted, because Carvalho had found its "homely style... out of place in an epic work".
2189:". A tree is hit by lightning, explodes and catches fire, as it falls to the ground. The satyrs, fauns, and sylvans pick up the flaming branches and dance with them in their hands, then disappear with the nymphs into the depths of the forest. The scene is slowly obscured by thick clouds, but as the storm subsides, the clouds lift and dissipate.
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2249:, Andromaque's earlier husband. Hearing about Andromaque remarrying, Didon then feels resolved regarding her lingering feelings of faithfulness to her late husband. Alone, Didon and ĂnĂ©e then sing a love duet. At the end of the act, as Didon and ĂnĂ©e slowly walk together towards the back of the stage in an embrace, the god
689:. Both parts were staged at the OpĂ©ra in one evening on 10 June 1921, with mise-en-scĂšne by Merle-Forest, sets by RenĂ© Piot and costumes by Dethomas. The cast included Marguerite Gonzategui (Didon), Lucy Isnardon (Cassandre), Jeanne Laval (Anna), Paul Franz (ĂnĂ©e), Ădouard Rouard (ChorĂšbe), and Armand Narçon (Narbal), with
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appear and disappear, but return to bathe in the basin. Hunting horns are heard in the distance, and huntsmen with dogs pass by as the naiads hide in the reeds. Ascagne gallops across the stage on horseback. Didon and ĂnĂ©e have been separated from the rest of the hunting party. As a storm breaks, the
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The
Numidians have been beaten back, and both Narbal and Anna are relieved at this. However, Narbal worries that Didon has been neglecting the management of the state, distracted by her love for ĂnĂ©e. Anna dismisses such concerns and says that this indicates that ĂnĂ©e would be an excellent king for
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and the crowd that he has deserted the Greeks, and that the giant wooden horse they have left behind was intended as a gift to the gods to ensure their safe voyage home. He says the horse was made so big that the
Trojans would not be able to move it into their city, because if they did they would be
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heard in the work
Berlioz's "arrestingly individual musical mind operating in, and commanding attention with, the use of the idiom with assured mastery and complete adequacy to the text's every demand." David Cairns described the work as "an opera of visionary beauty and splendor, compelling in its
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would provide the subject-matter. I added that I was all too aware of the pain that such an undertaking would inevitably cause me ever to embark on it. 'Indeed,' the princess replied, 'the conjunction of your passion for
Shakespeare and your love of antiquity must result in the creation of something
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A sacrificial pyre with ĂnĂ©e's relics has been built. Priests enter in a procession. Narbal and Anna expound curses on ĂnĂ©e to suffer a humiliating death in battle. Didon says it is time to finish the sacrifice and that she feels peace enter her heart (this happens in a ghostly descending chromatic
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The crowd has seen the
Trojans set sail. Iopas conveys the news to Didon. In a rage, she demands that the Carthaginians give chase and destroy the Trojans' fleet, and wishes that she had destroyed the Trojans upon their arrival. She then decides to offer sacrifice, including destroying the Trojans'
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Didon's minister Narbal then comes to tell her that Iarbas and his
Numidian army are attacking the fields surrounding Carthage and are marching on the city. But Carthage does not have enough weapons to defend itself. ĂnĂ©e then reveals his true identity and offers the services of his people to help
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for their soldiers to receive divine aid. Cassandre reports that ĂnĂ©e and other Trojan warriors have rescued Priam's palace treasure and relieved people at the citadel. She prophesies that ĂnĂ©e and the survivors will found a new Troy in Italy. But she also says that ChorĂšbe is dead, and resolves to
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by a sea serpent, after Laocoön had warned the
Trojans to burn the horse. ĂnĂ©e interprets this as a sign of the goddess Athene's anger at the sacrilege. Against Cassandre's futile protests, Priam orders the horse to be brought within the city of Troy and placed next to the temple of Pallas Athene.
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In his July 1867 will
Berlioz lamented that Choudens had failed to meet their contractual obligation to engrave the full score and asked his executors to ensure the opera "be published without cuts, without modifications, without the least suppression of the text â in sum exactly as it stands." In
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On 3 May 1861, Berlioz wrote in a letter: "I am sure that I have written a great work, greater and nobler than anything done hitherto." Elsewhere he wrote: "The principal merit of the work is, in my view, the truthfulness of the expression." For Berlioz, truthful representation of passion was the
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Didon then stabs herself with ĂnĂ©e's sword, to the horror of her people. But at the moment of her death, she has one last vision: Carthage will be destroyed, and Rome will be "immortal". The Carthaginians then utter one final curse on ĂnĂ©e and his people to the music of the Trojan march, vowing
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writes, the Philips recording "brought an entire generation of listeners to the work, and as Cairns puts it, it finally 'blew to smithereens the idea that the opera was a dead duck â the fruit of an old, worn-out composer.'" Ashley also asserts: "Understanding of achievement was also notably
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then enters to tell of an unknown fleet that has arrived in port. Recalling her own wanderings on the seas, Didon bids that these strangers be made welcome. Ascagne enters, presents the saved treasure of Troy, and relates the Trojans' story. Didon acknowledges that she knows of this situation.
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in Paris. It was a partial success, because the new theatre was not quite ready on opening night, which caused much trouble during rehearsals. The performance had several cuts, authorised by Berlioz, including some dances in the third act. A full staged version conducted by Charles Dutoit and
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in 1908, which was revived in 1909. He rearranged some of the music for the Munich production, placing the "Royal Hunt and Storm" after the love duet, a change that "was to prove sadly influential." A production of both parts, with substantial cuts in the second part, was mounted in
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Didon asks Anna to plead with ĂnĂ©e one last time to stay. Anna acknowledges blame for encouraging the love between her sister and ĂnĂ©e. Didon angrily counters that if ĂnĂ©e truly loved her, he would defy the gods, but then asks her to plead with him for a few days' additional stay.
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and pointed out that after the first night audiences were increasing. "See," he said encouragingly to Berlioz, "they are coming." "Yes," replied Berlioz, feeling old and worn out, "they are coming, but I am going." Berlioz never saw the first two acts, later given the name
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sailor, Hylas, sings his song of longing for home, alone. Two sentries mockingly comment that he will never see his homeland again. Panthée and the Trojan chieftains discuss the gods' angry signs at their delay in sailing for Italy. Ghostly voices are heard calling
223:, and a woman of character and intelligence who has often given me support in my darkest hours. I was led to talk of my admiration for Virgil and of the idea I had formed of a great opera, designed on Shakespearean lines, for which Books Two and Four of the
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as ĂnĂ©e, Robert Massard as ChorĂšbe and Georges Vaillant as Narbal; performances by this cast were broadcast on French radio. Several of these artists, in particular Crespin and Chauvet, participated in a set of extended highlights commercially recorded by
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The first staged performance of the whole opera only took place in 1890, 21 years after Berlioz's death. The first and second parts, in Berlioz's revised versions of three and five acts, were sung on two successive evenings, 6 and 7 December, in German at
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Didon then appears, appalled at ĂnĂ©e's attempt to leave in secret, but still in love with him. ĂnĂ©e pleads the messages from the gods to move on, but Didon will have none of this. She pronounces a curse on him as she leaves. The Trojans shout
1118:, but therefore paid the price of long neglect. In our own time the opera has finally come to be seen as one of the greatest operas of the 19th century. There are several recordings of the work, and it is performed with increasing frequency.
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for each additional performance. Berlioz lamented: "If I am able to put on an adequate performance of a work of this scale and character I must be in absolute control of the theatre, as I am of the orchestra when I rehearse a symphony."
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was cut because, as Berlioz himself realized, "Madame Charton's voice was unequal to the vehemence of this scene, which took so much out of her that she would not have had the strength left to deliver the tremendous recitative
522:â something with beautiful things in it, but too long and supposedly full of dead wood. The kind of maltreatment it received in Paris as recently as last winter in a new production will, I'm sure, be a thing of the past."
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in Paris on 4 November 1863, with 21 repeat performances. The reduced versions run for about three hours. After decades of neglect, today the opera is considered by some music critics as one of the finest ever written.
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This scene is a pantomime with primarily instrumental accompaniment, set in a forest with a cave in the background. A small stream flows from a crag and merges with a natural basin bordered with rushes and reeds. Two
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3579:, he would have had to be paid 200 francs for each additional performance. Berlioz was ill at home and not at the theatre when the cut was made. See Walsh 1981, pp. 170, 375; Kutsch and Riemens 2003, pp. 675, 1228.
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Carthage. Didon accepts the offer, and ĂnĂ©e entrusts his son Ascagne to Didon's care, but he suddenly dries his tears and joins the Carthaginians and Trojans in preparing for battle against the Numidians.
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takes the same dagger and does likewise. The remaining women scorn the Greeks as being too late to find the treasure, and commit mass suicide, to the soldiers' horror. Cassandre summons one last cry of
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staged a heavily cut version of the opera (reducing it to about three hours), billed as the "American professional stage premiere", in 1966, with Crespin as both Cassandre and Didon and Canadian tenor
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Berlioz began the libretto on 5 May 1856 and completed it toward the end of June 1856. He finished the full score on 12 April 1858. Berlioz had a keen affection for literature, and he had admired
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also credits "il compositore" as a conductor, Berlioz's memoirs do not mention it (Berlioz & Cairns 2002, pp. 535â541), nor do T. J. Walsh 1981; Cairns 1999; Holoman 1989; or Macdonald 1982.
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in any form in which we now recognise it. Its discovery was to bring in its wake a reappraisal of Berlioz's entire output which would decisively re-establish his position, even in France."
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used at various productions at the Paris OpĂ©ra and by Beecham and by KubelĂk in London were the orchestral and choral parts from Choudens et C of Paris, the only edition then available.
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The opera was performed in three acts in a shortened, revised version by Crespin's husband, Lou Bruder. The reviewer mentions that the act-1 octet, "ChĂątiment effroyable", was omitted.
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line recalling the appearance of Hector's ghost in Act II). She then ascends the pyre. She removes her veil and throws it on ĂnĂ©e's toga. She has a vision of a future African warrior,
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king, not least because he has proposed a political marriage with her. The Carthaginians swear their defence of Didon, and the builders, sailors and farmers offer tribute to Didon.
934:, in the opera's first staging in New York City and the third staging in the United States. The performances included cuts (Nos. 20-22 and Nos. 45â46, half of Dido's final scene).
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visits ĂnĂ©e and warns him to flee Troy for Italy, where he will build a new Troy. After Hector fades, the priest PanthĂ©e conveys the news about the Greeks hidden in the horse.
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Edmond Cabel sang the "Song of Hylas", but it was cut shortly after the premiere as his contract only required him to sing 15 times per month. Since he was also appearing in
313:, along with a chorus. Since the set change for this scene took nearly an hour, it was cut, despite the fact its staging had been greatly simplified with a painted waterfall
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In private after these ceremonies, Didon and her sister Anna then discuss love. Anna urges Didon to remarry, but Didon insists on honoring the memory of her late husband
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In his memoirs, Berlioz described in excruciating detail the intense frustrations he experienced in seeing the work performed. For five years (from 1858 to 1863), the
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appears with news of further destruction. At the head of a band of soldiers, ChorĂšbe urges ĂnĂ©e to take up arms for battle. All resolve to defend Troy to the death.
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attended 12 performances. Berlioz's son Louis attended every performance. A friend tried to console Berlioz for having endured so much in the mutilation of his
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epic sweep, fascinating in the variety of its musical invention... it recaptures the tragic spirit and climate of the ancient world." Hugh Macdonald said of it:
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Even with this truncated version of the opera, many compromises and cuts were made, some during rehearsals, and some during the run. The new second act was the
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Role names and descriptions, their order, and voice types are from the urtext vocal score published by BĂ€renreiter (Berlioz 2003, pp. III, V), except as noted.
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as both ChorĂšbe (a role he had sung in Paris in 1929) and Narbal. An aircheck of this performance has been issued on CD. However, the 1957 production at the
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Carthage. Narbal reminds Anna, however, that the gods have called ĂnĂ©e's final destiny to be in Italy. Anna replies that there is no stronger god than love.
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with dishevelled hair run to-and-fro over the rocks, gesticulating wildly. They break out in wild cries of "a-o" (sopranos and contraltos) and are joined by
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1999:. ChorĂšbe appears and urges Cassandre to forget her misgivings. But her prophetic vision clarifies, and she foresees the utter destruction of Troy. When
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766:, has been described as "the first full staging in a single evening that even approximated the composer's original intentions". It was sung in English.
546:, orchestral parts, and an improved vocal score, but only the vocal score was sold. The remaining material was only made available for short-term hire.
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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. Under the title
3661:, subscription required). According to Gardiner, the collector asked as fee for the loan and use of these precious antiques only for a copy of the DVD.
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325:'s stanzas disappeared with Berlioz's approval, the singer De Quercy "charged with the part being incapable of singing them well." The duet between
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No. 42. ScĂšne: "ĂnĂ©e!" (ĂnĂ©e, le Spectre de Cassandre, le Spectre d'Hector, le Spectre de ChorĂšbe, le Spectre de Priam, ChĆur d'Ombres invisibles)
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bought the 1859 autograph vocal score, which included scenes cut for the orchestral autograph score; the manuscript also includes annotations by
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Goldberg 1988, p. 222. (Some of these condensed productions have been referred as Bruder versions, after Lou Bruder, husband of RĂ©gine Crespin.)
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to narrate the events of the first two acts of the complete opera that were omitted in this version (Walsh 1981, pp. 165, 317; Berlioz 1864,
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After the premiere of the second part at the Théùtre Lyrique, portions of the opera were next presented in concert form. Two performances of
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Before the act proper has started, the Greek soldiers hidden in the wooden horse have come out and begun to destroy Troy and its citizens.
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gifts to her and hers to them. Narbal is worried about Didon and tells Anna to stay with her sister, but the queen orders Anna to leave.
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Alone, she resolves to die, and after expressing her love for ĂnĂ©e one final time, prepares to bid her city and her people farewell.
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on September 14, 1991 with Carol Neblett, Nadine Secunde and Gary Lakes. In 1993, Charles Dutoit conducted the Canadian premiere of
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Six complete performances were given at Zurich Opera, all 5 acts on one night as Berlioz had intended in September 1990, directed by
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494:). This production was frequently revived over the succeeding eleven years and was sometimes given on a single day. The conductor,
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No. 8. Ottetto et Double ChĆur: "ChĂątiment effroyable" (Ascagne, Cassandre, HĂ©cube, ĂnĂ©e, Helenus, ChorĂšbe, PanthĂ©e, Priam, ChĆur)
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doctoral dissertation this was. With its publication, as well as the release in 1970 of the first complete recording (based on
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360:, and since his contract only required him to sing fifteen times per month, he would have to be paid an extra two hundred
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342:" , which was "greatly liked at the early performances and was well sung", was cut while Berlioz was at home sick with
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had been cast as Didon but was ill at the time of the premiere; she sang the role in the ten subsequent performances.
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sang ĂnĂ©e in 1930. Lucienne Anduran was Didon in 1939, with Ferrer as Cassandre this time, JosĂ© de TrĂ©vi as ĂnĂ©e, and
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containing all the compositional material left by Berlioz. The preparation of this critical edition was the work of
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No. 13. RĂ©citatif et ChĆur: "Quelle espĂ©rance encore" (Ascagne, ĂnĂ©e, ChorĂšbe, PanthĂ©e, ChĆur des Soldats troyens)
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She then asks ĂnĂ©e for more tales of Troy. ĂnĂ©e reveals that after some persuading, Andromaque eventually married
290:. It consisted of Acts 3 to 5, redivided by Berlioz into five acts, to which he added an orchestral introduction (
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3179:(third edition, 1978), both the Rouen and Paris productions were in 5 acts and 9 scenes and used reduced scores (
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conducted New Jersey's Pro Arte Chorale and Festival Orchestra in a concert performance of the complete opera at
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215:"At that time I had completed the dramatic work I mentioned earlier ... Four years earlier I happened to be in
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Goldberg, Louise (1988b). "Select list of performances (Staged and concert)" in Kemp 1988, pp. 216â227.
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856:, Crespin (as Cassandre and Didon) and Chauvet were the leads for the South American premiere, conducted by
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No. 36. RĂ©citatif et Septuor: "Mais banissons" (Ascagnes, Didon, Anna, ĂnĂ©e, Iopas, Narbal, PanthĂ©e, ChĆur)
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596:), "it was finally possible to study and produce the whole work, and to judge it on its own merits."
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highest goal of a dramatic composer, and in this respect he felt he had equalled the achievements of
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Goldberg, Louise (1988a). "Performance history and critical opinion" in Kemp 1988, pp. 181â195.
3730:, vocal score based on the Urtext of the New Berlioz Edition by Eike Wernhard. Kassel: BĂ€renreiter.
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2185:. The stream becomes a torrent, and waterfalls pour forth from the boulders, as the chorus intones "
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No. 28. Final: "J'ose Ă peine annoncer" (Ascagne, Didon, Anna, Iopas, ĂnĂ©e, Narbal, PanthĂ©e, ChĆur)
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Press illustration of the last scene â the Death of Didon (1863). Set designer: Philippe Chaperon
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rather than one with real water. Carvalho had originally planned to divert water from the nearby
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appears and strikes ĂnĂ©e's shield, which the hero has cast away, calling out three times, "
1979:
are celebrating apparent deliverance from ten years of siege by the Greeks (also named the
6175:
5769:
5734:
5451:
5153:
5052:
4860:
4766:
4754:
4742:
4701:
4677:
4647:
4635:
4623:
4599:
4575:
4539:
4515:
4503:
4491:
4444:
4420:
4396:
4384:
3478:
3322:
2569:
No. 41. RĂ©citatif mesurĂ© et Air: "Inutiles regrets" / "Ah! quand viendra l'instant" (ĂnĂ©e)
1995:
is mistrustful of the situation. She foresees that she will not live to marry her fiancé,
1797:
1359:
1086:
935:
885:
822:
706:
604:
450:
430:
140:
3526:
849:
3515:. Characters only appearing in Acts 1 or 2 of the complete opera are marked with a dash.
3354:
2607:
No. 49. CĂ©rĂ©monie FunĂšbre: "Dieux de l'oubli" (Anna, Narbal, ChĆur de PrĂȘtres de Pluton)
950:, with all the music restored, opened the Metropolitan's centenary season in 1983 under
6080:
5922:
5753:
5710:
5611:
5304:
5254:
5032:
4852:
4018:
3892:
3605:
Jouanny was the stage name of Juan Perdolini, a former bass singer with Adolphe Adam's
2358:
2019:
invincible. This only makes the Trojans want the horse inside their city all the more.
1814:
943:
907:
873:
787:
747:
743:
735:
698:
694:
632:
519:
446:
275:
153:
51:
994:
and Deborah Voigt, Françoise Pollet and Gary Lakes which was subsequently recorded by
6139:
5910:
4403:
3837:
3798:
2116:
1988:
1707:
1317:
1266:
1034:
995:
959:
919:
755:
734:
was performed for the first time in London in a concert performance conducted by Sir
725:
709:
as ChorĂšbe. Gaubert conducted all performances in Paris before the Second World War.
702:
434:
368:
Even in its less than ideal form, the work made a profound impression. For example,
3647:
from the time of Berlioz, borrowed from a private collection, but also an authentic
2539:
No. 35. RĂ©citatif et Quintette: "Pardonne, Iopas" (Didon, Anna, ĂnĂ©e, Iopas, Narbal)
6124:
5441:
5405:
5400:
5044:
4611:
3902:
3841:
2386:
No. 6. Pantomime: "Andromaque et son fils" (Andromaque, Astyanax, Cassandre, ChĆur)
1984:
1699:
1405:
1098:
1090:
1062:
1030:
1018:
951:
853:
763:
550:
418:
361:
347:
220:
4606:
3609:. One of his brothers was Franck-Marie (Franco Maria Perdolini), music critic for
3232:
2416:
No. 12. ScĂšne et RĂ©citatif: "Ă lumiĂšre de Troie" (Ascagne, ĂnĂ©e, l'Ombre d'Hector)
3524:
Deloffre is identified as the conductor by Auguste de Gasperini in his review in
2435:
No. 16. Final: "Complices de sa gloire" (the same, un Chef Grec, ChĆur des Grecs)
2139:
Panthée then tells of the ultimate destiny of the Trojans to found a new city in
673:
on one night, with only a few cuts, which had been sanctioned by the author. The
6049:
5718:
5571:
5123:
2795:
2495:
No. 29. Chasse Royale et Orage â Pantomime (ChĆur des Nymphes, Sylvains, Faunes)
2238:
1720:
1157:
1070:
1046:
1042:
884:
conducted a Covent Garden production sung in French in September and a parallel
881:
872:
score from BĂ€renreiter published in 1969 was first used in May that year by the
838:
795:
783:
628:
593:
495:
373:
149:
47:
2432:
No. 15. RĂ©citatif et ChĆur: "Tous ne pĂ©riront pas" (Cassandre, PolyxĂšne, ChĆur)
5299:
5209:
5204:
4696:
2026:
2000:
1809:
1785:
1777:
1765:
1736:
1580:
558:
557:
to plan a raid on the publisher's Paris office, even approaching the Parisian
466:
343:
3951:
2474:
No. 26. Marche Troyenne (in the minor mode): "J'Ă©prouve une soudaine" (Didon)
5566:
5501:
5466:
5374:
5364:
5329:
5314:
5289:
5259:
5239:
5229:
4672:
4582:
4379:
3804:
2711:
1992:
1757:
1673:
1372:
1308:
487:
233:
4737:
2742:
17:
2773:
2429:
No. 14. ChĆur â PriĂšre: "Puissante CybĂšle" (PolyxĂšne, ChĆur des Troyennes)
646:
commenced a run of performances with the two halves on successive nights.
5941:
5556:
5521:
5506:
5486:
5415:
5379:
5339:
5334:
5294:
5269:
5214:
5199:
5108:
4177:
3735:
2338:
2242:
2219:
slave girls, Iopas sings his song of the fields, at the queen's request.
2131:
2108:
2076:
2053:
2004:
1996:
1830:
1732:
1703:
1602:
1538:
1343:
1285:
1223:
1209:
1200:
1176:
643:
499:
441:, was performed in English on 6 May 1882 by Thomas's May Festival at the
157:
4318:
3613:(Berlioz 1864, p. 2; Walsh 1981, p. 317; Walsh spells the name Jouanni).
3267:
2178:
549:
In the early 20th century, the lack of accurate parts led musicologists
6085:
5616:
5561:
5546:
5536:
5531:
5491:
5436:
5395:
5359:
5324:
5309:
5284:
5234:
5179:
4510:
3705:
3648:
3644:
3193:
Westrup, J. A. (1961). "Berlioz and Mr Cairns (Letter to the Editor)".
2273:
2124:
1934:
1930:
1926:
1914:
1861:
1793:
1761:
1749:
1724:
1711:
1683:
1470:
1395:
1294:
3214:
3024:
2908:
2781:
2465:
No. 23. RĂ©citatif et ChĆur: "Peuple! tous les honneurs" (Didon, ChĆur)
794:
as Didon, GeneviĂšve SerrĂšs as Cassandre, Jacqueline Broudeur as Anna,
627:
as its premiere) and witnessed a triumphant debut for the 17-year-old
5726:
5601:
5591:
5586:
5541:
5526:
5511:
5369:
5219:
5189:
5184:
5118:
5103:
5080:
5075:
4835:
4815:
4810:
4749:
4558:
2447:
No. 17. ChĆur: "De Carthage les cieux" (ChĆur du Peuple carthaginois)
2246:
2165:
2120:
2071:
2049:
2022:
1918:
1728:
1585:
1559:
1452:
1166:
830:
569:
538:
the late 1880s, after a lawsuit, the firm printed the full scores of
503:
330:
302:
246:
216:
204:
166:
161:
97:
91:
2563:
No. 39. RĂ©citatif et ChĆur: "PrĂ©parez tout" (PanthĂ©e, Chefs troyens)
635:; these staged performances of Part 2 continued into the next year.
286:, mount a production of the second half of the opera with the title
3922:
L'OpĂ©ra au Palais Garnier, 1875â1962. Les oeuvres. Les InterprĂštes.
3229:"'Erik Chisholm and The Trojans' by Morag Chisholm; Musicweb, 2003"
3206:
3016:
2900:
2725:
Cairns, David (1968â1969). "Berlioz and Virgil: A Consideration of
5606:
5596:
5581:
5551:
5496:
5476:
5456:
5354:
5224:
5113:
3088:. Vol. 18. Paris: BibliothĂšque Charpentier. pp. 104â109.
2471:
No. 25. RĂ©citatif et Air: "ĂchappĂ©s Ă grand' peine" (Iopas, Didon)
2395:
No. 9. RĂ©citatif et ChĆur: "Que la dĂ©esse nous protĂšge" (the same)
2327:
2294:
2221:
2216:
2212:
2191:
2182:
2170:
2140:
2135:
2091:
2015:
2011:
1946:
1645:
1641:
1415:
1182:
666:
648:
388:
339:
322:
318:
310:
261:
242:
3987:
2453:
No. 19. RĂ©citatif et Air: "Nous avons vu finir" (Didon, the same)
405:
were given in Paris on the same day, 7 December 1879: one by the
5410:
5279:
4830:
2578:
No. 44. Duo et ChĆur: "Errante sur tes pas" (Didon, ĂnĂ©e, ChĆur)
2342:
2174:
2112:
1976:
1901:
1773:
1740:
1695:
1649:
1421:
1110:
stands out as a grand opera that avoided the shallow glamour of
774:
The Paris Opéra gave a new production of a condensed version of
508:
326:
229:
5048:
4782:
4337:
3991:
2756:
Fraenkel, Gottfried S. (July 1963). "Berlioz, the Princess and
2560:
No. 38. Chanson d'Hylas: "Vallon sonore" (Hylas, 2 Sentinelles)
2536:
No. 34. ScĂšne et Chant d'Iopas: "Assez, ma sĆur" (Didon, Iopas)
742:
in 1947. His cast included Ferrer as both Didon and Cassandre,
3711:
Berlioz, Hector; Cairns, David, translator and editor (2002).
2143:. During this scene, ĂnĂ©e is disguised as an ordinary sailor.
800:
739:
301:("Royal Hunt and Storm") , an elaborate pantomime ballet with
3966:, which has been the musical basis for subsequent productions
3883:, third edition. Totowa, New Jersey: Rowman and Littlefield.
2371:
No. 1. ChĆur: "AprĂšs dix ans" (ChĆur de la Populace troyenne)
693:
conducting. Marisa Ferrer (who later sang the part under Sir
338:, the final aria , and the scene on the pyre ." The "Song of
2477:
No. 27. Récitatif: "Auguste Reine" (Ascagne, Didon, Panthée)
2374:
No. 2. RĂ©citatif et Air: "Les Grecs ont disparu" (Cassandre)
1987:
left by the Greeks, which they presume to be an offering to
2694:
MacDonald, Hugh (January 1964). "Correspondence: Berlioz's
2349:
vengeance for his abandonment of Didon, as the opera ends.
219:
at the home of Princess Wittgenstein â a devoted friend of
2169:
two take shelter in the cave. At the climax of the storm,
1001:
To mark the 200th anniversary of Berlioz's birth in 2003,
669:
staged what was probably the first French performance of
3045:(PhD). Department of Musicology, University of Cambridge.
2819:
Berlioz & Cairns 2002, p. 535; Goldberg 1988, p. 181.
2613:
No. 51. ChĆur: "Au secours!" (Didon, Anna, Narbal, ChĆur)
1025:
as Didon, conducted by Levine). The Met's production, by
461:(with cuts), was given in English on 26 February 1887 at
270:, the second half of the opera, and first part performed.
3907:
Second Empire Opera: The ThĂ©Ăątre Lyrique Paris 1851â1870
2575:
No. 43. ScĂšne et ChĆur: "Debout, Troyens!" (ĂnĂ©e, ChĆur)
2119:
to found a new city. Didon, however, is concerned about
2066:
Several of the Trojan women are praying at the altar of
429:
with Leslino as Cassandre, Piroia as ĂnĂ©e, conducted by
211:
was a prime motivator to Berlioz to compose this opera.
2048:
With fighting going on in the background, the ghost of
1097:
was "the greatest opera ever written." American critic
821:(an abbreviated version, sung in English) was given by
178:, the last three acts were premiĂšred with many cuts by
3772:. Cambridge, Massachusetts: Harvard University Press.
3746:
Berlioz. Volume Two. Servitude and Greatness 1832â1869
2668:"Hector Berlioz "Les Troyens" (grand opera in 5 acts)"
2025:
then rushes on to tell of the devouring of the priest
906:(with Crespin as Didon) was given in February 1972 by
895:
incomplete owing to the absence from the repertory of
631:
as Didon, with StĂ©phane Lafarge as ĂnĂ©e, conducted by
2377:
No. 3. Duo: "Quand Troie Ă©clate" (Cassandre, ChorĂšbe)
1970:
At the abandoned Greek camp outside the walls of Troy
841:
as ĂnĂ©e, and again in 1968 with Crespin and Chauvet;
716:
took place in 1897 and 1928, then in 1935 a complete
514:
In subsequent years, according to Berlioz biographer
30:
This article is about the opera. For other uses, see
4365:
Laurence Olivier Award for Best New Opera Production
3924:
Paris: L'Entracte. (1983 reprint: Geneva: Slatkine.
3868:, The Master Musicians Series. London: J. M. Dent.
3350:
3348:
2591:
No. 46. ScĂšne: "En mer, voyez" (Didon, Iopas, ChĆur)
2545:
No. 37. Duo: "Nuit d'ivresse" (Didon, ĂnĂ©e, Mercure)
1053:
presented the opera in a new production directed by
977:
was staged again in 1990 for the opening of the new
6073:
6042:
6017:
5958:
5888:
5852:
5745:
5664:
5629:
5429:
5388:
5167:
5096:
5089:
5019:
5001:
4983:
4968:
4949:
4844:
4823:
4478:
4371:
4279:
4252:
4213:
4170:
4136:
4086:
4043:
3964:
For the New Berlioz Complete Edition of BĂ€renreiter
2450:
No. 18. Chant National: "Gloire Ă Didon" (the same)
2380:
No. 4. Marche et Hymne: "Dieux protecteurs" (ChĆur)
385:
Early concert performances of portions of the opera
103:
85:
77:
69:
41:
3498:
3496:
2985:
2983:
3850:(fourth edition, in German). Munich: K. G. Saur.
3700:, libretto in French. Paris: Michel LĂ©vy FrĂšres.
2505:No. 30. RĂ©citatif: "Dites, Narbal" (Anna, Narbal)
2401:No. 11. Final: Marche Troyenne (Cassandre, ChĆur)
982:produced by Francesca Zambello took place at the
3252:by Donald Jay Grout and Hermine Weigel Williams"
2508:No. 31. Air et Duo: "De quels revers" (the same)
2398:No. 10. Air: "Non, je ne verrai pas" (Cassandre)
1205:a young prince from Asia, betrothed to Cassandre
697:in London) sang Didon in the 1929 revival, with
170:; the score was composed between 1856 and 1858.
64:Cover of the Choudens edition of the vocal score
3355:"Les Troyens: Rising from the Ruins", pp. 21â23
2389:No. 7. RĂ©cit: "Du peuple et des soldats" (ĂnĂ©e)
1104:
213:
152:in five acts, running for about five hours, by
3588:Berlioz created this role for the prologue of
2468:No. 24. Duo: "Les chants joyeux" (Didon, Anna)
417:as Cassandre, StĂ©phani as ĂnĂ©e, conducted by
5060:
4794:
4349:
4003:
3131:"Les Troyens de Berlioz, la création oubliée"
2616:No. 52. Imprécation: "Rome! Rome!" (the same)
1668:Berlioz specified the following instruments:
1021:), and at the Metropolitan in New York (with
914:, at the Aquarius Theater. On 17 March 1972,
681:in 1899, and in 1919 mounted a production of
572:, Germany, first published the full score of
8:
6186:Opera world premieres at the Théùtre Lyrique
3979:Guy Dumazert, French-language commentary on
2963:
2961:
2959:
2957:
2731:Proceedings of the Royal Musical Association
1640:Trojans, Greeks, Tyrians and Carthaginians;
502:in 1899 and conducted another production in
2594:No. 47. Monologue: "Je vais mourir" (Didon)
266:Cover of the 1863 Choudens vocal score for
5093:
5067:
5053:
5045:
4801:
4787:
4779:
4356:
4342:
4334:
4010:
3996:
3988:
2588:No. 45. ScĂšne: "Va, ma sĆur" (Didon, Anna)
2566:No. 40. Duo: "Par Bacchus" (2 Sentinelles)
2202:Scene 2: The gardens of Didon by the shore
1953:The Procession of the Trojan Horse in Troy
1093:declared in his 1934 book on Berlioz that
902:The first complete American production of
653:Poster for 1920 performances of Berlioz's
393:The Choudens vocal score illustration for
58:
38:
3947:International Music Score Library Project
3811:. Cambridge: Cambridge University Press.
3748:. London: Allen Lane. The Penguin Press.
3670:Berlioz 2003, pp. 340â355; Berlioz 1864,
3643:and recorded on video, featured not only
3357:, in Tim Ashley, "Berlioz the radical",
2851:
2849:
2847:
2845:
2843:
2211:After Didon's entry, and dances from the
1991:. Unlike all the other Trojans, however,
1029:, was revived in the 2012â13 season with
433:. These were followed by two concerts in
3824:Sarah Caldwell; The First Woman of Opera
3162:
3160:
2597:No. 48. Air: "Adieu, fiÚre cité" (Didon)
2511:No. 32. Marche pour l'Entrée de la Reine
2383:No. 5. Combat de Ceste â Pas de Lutteurs
2357:The list of musical numbers is from the
1126:
817:The first American stage performance of
3085:Les Annales du Théùtre et de la Musique
2873:Berlioz & Cairns 2002, pp. 535â536.
2659:
864:Performances using the critical edition
4105:Grande symphonie funĂšbre et triomphale
3728:Les Troyens. Grand Opéra en cinq actes
2674:from the original on 11 December 2023.
2610:No. 50. ScĂšne: "Pluton semble" (Didon)
888:recording was made. Tim Ashley of the
701:as Cassandre and Franz again as ĂnĂ©e.
530:At the time of the 1863 production of
518:, the work was thought of as "a noble
350:, was also performing in a revival of
6191:Cultural depictions of the Trojan War
3826:. Lanham, Maryland: Scarecrow Press.
3323:"Argentina: Crespin Triumphs as Dido"
2096:Set design for the throne room (1863)
139:
7:
5991:Ascanius Shooting the Stag of Sylvia
3100:"Photographs of the 1906 production"
2670:. BalletAndOpera.com. 3 March 2020.
2196:Gardens of Didon by the shore (1863)
2007:by the hand, the celebration halts.
1313:Trojan prophetess, daughter of Priam
942:premiere, with Jon Vickers as ĂnĂ©e.
938:was both Cassandre and Didon at the
160:was written by Berlioz himself from
6161:Operas based on classical mythology
3558:. L'Almanacco di Gherardo Casaglia
3407:Robert Jacobsen (12 January 1975).
3281:Bender, William (5 November 1973).
2883:Macdonald, Hugh (September 1969). "
2215:dancing girls, the slaves, and the
990:in a full concert version with the
880:, in performances sung in English.
712:In the UK, concert performances of
469:as ĂnĂ©e, and possibly conducted by
207:since his childhood. The Princess
3531:vol. 30, no. 893 (8 November 1863)
3065:"Coulisses: Pluie d'autographes".
2855:Berlioz & Cairns 2002, p. 540.
2828:Berlioz & Cairns 2002, p. 535.
2305:Scene 2: Didon's apartment at dawn
2003:silently walks in holding her son
1005:was revived in productions at the
25:
3794:The New Grove Dictionary of Opera
3659:vol. 28, no. 4, March/April, 2005
3175:According to Joseph Loewenberg's
2014:, is brought in. He lies to King
4317:
4308:
4307:
4241:
3490:Goldberg 1988, pp. 188, 224â225.
3129:Rose, CĂ©cile (2 November 2017).
3104:Archives digitales de la Monnaie
3040:A Critical Edition of Berlioz's
2456:No. 20. Entrée des Constructeurs
1106:In the history of French music,
1049:. During June and July 2015 the
724:, directed by Scottish composer
601:BibliothĂšque nationale de France
6201:Cultural depictions of Hannibal
3791:, vol. 4, pp. 828â832, in
3631:An October 2003 performance of
3440:. 25 March 1974. Archived from
3082:Noel, E.; Stoullig, E. (1892).
2267:Scene 1: The harbor of Carthage
2102:Didon's throne-room at Carthage
778:on March 17, 1961, directed by
477:First performance of both parts
5975:Aeneas, Anchises, and Ascanius
4655:The Mastersingers of Nuremberg
2941:"Chronology of Berlioz operas"
677:had presented a production of
397:, the first part of the opera.
1:
5949:Timeo Danaos et dona ferentes
5700:
5677:
3715:. New York: Alfred A. Knopf.
3713:The Memoirs of Hector Berlioz
3321:Figueroa, Oscar (July 1964).
3038:Macdonald, Hugh John (1968).
2462:No. 22. Entrée des Laboureurs
2157:Scene 1: Royal Hunt and Storm
1983:in the opera). They see the
1302:Auguste Elise Harlacher-Rupp
1228:Trojan priest, friend of ĂnĂ©e
1085:Knowing the work only from a
209:Carolyne zu Sayn-Wittgenstein
6112:Political commentary of the
3909:. New York: Riverrun Press.
3409:"A Young Maestro at the Met"
3181:Loewenberg 1978, column 1145
2930:Goldberg 1988a, pp. 182â183.
2921:Goldberg 1988b, pp. 216â217.
2630:The original finale of Act 5
845:conducted all performances.
782:, with sets and costumes by
186:, at their theatre (now the
6196:Cultural depictions of Dido
6096:Parallels between Virgil's
4523:The Trojans: Parts I and II
4261:Treatise on Instrumentation
4222:Le Chant des chemins de fer
4035:Music criticism and writing
3879:Loewenberg, Alfred (1978).
3809:Hector Berlioz: Les Troyens
3397:Goldberg 1988, pp. 224â225.
3361:(February 2019), pp. 16â23.
2527:c) Pas d'Esclaves Nubiennes
2459:No. 21. Entrée des Matelots
2341:, who will rise and attack
2323:Scene 3: The palace gardens
2084:" before collapsing, dead.
1844:petit saxhorn suraigu en si
1475:Trojan priest, son of Priam
1290:ĂnĂ©e's young son (15 years)
1017:in Amsterdam (conducted by
722:Glasgow Grand Opera Society
484:GroĂherzoglichen Hoftheater
465:with Marie Gramm as Didon,
258:Premiere of the second part
6227:
6166:Operas based on the Aeneid
6026:And Then There Was Silence
5789:(1724 libretto Metastasio)
3797:, four volumes, edited by
3546:Casaglia, Gherardo (2005).
2638:
1355:Anne-ArsĂšne Charton-Demeur
592:performances conducted by
491:
346:. The singer of the part,
282:, director of the smaller
29:
4303:
4025:
3881:Annals of Opera 1597â1940
3783:Holomon, D. Kern (1992).
3481:at the Met Opera Archive.
2968:Blyth, Alan (May 1970). "
2887:at the Théùtre-Lyrique".
1637:
1457:Trojan hero, son of Priam
1384:
1140:4 November 1863
827:New England Opera Theater
615:On 9 June 1892 the Paris
611:Later performance history
498:, took his production to
381:("The Capture of Troy").
336:Dieux immortels! il part!
253:Early performance history
108:4 November 1863
57:
46:
6211:Fauns in popular culture
6146:Operas by Hector Berlioz
5917:Fortune favours the bold
4288:La Symphonie fantastique
3920:Wolff, Stéphane (1962).
3822:Kessler, Daniel (2008).
3726:Berlioz, Hector (2003).
3696:Berlioz, Hector (1864).
3683:Berlioz 2003, pp. XâXII.
3370:Kessler 2008, pp. 93â96.
3250:A Short History of Opera
2299:Didon's apartment (1863)
2061:Scene 2: Palace of Priam
1623:narrator of the Prologue
1188:Jules-SĂ©bastien Monjauze
940:Metropolitan Opera House
790:was the conductor, with
661:On 6 February 1920, the
526:Publication of the score
5935:Obscuris vera involvens
5834:Dido, Queen of Carthage
5696:Dido, Queen of Carthage
4958:Dido, Queen of Carthage
4931:Dido, Queen of Carthage
4809:"Dido and Aeneas" from
4535:Lady Macbeth of Mtsensk
3639:in Paris, conducted by
3434:"A Win for the Trojans"
3055:Goldberg 1988a, p. 185.
2729:as a Virgilian Opera".
2279:Italie! Italie! Italie!
2187:Italie! Italie! Italie!
2043:Scene 1: Palace of ĂnĂ©e
1876:(or valve trumpets in B
1067:Anna Caterina Antonacci
1061:in London. It featured
1057:that originated at the
1023:Lorraine Hunt Lieberson
1009:in Paris (conducted by
912:Opera Company of Boston
32:Trojan (disambiguation)
27:Opera by Hector Berlioz
6151:French-language operas
5999:Dido building Carthage
5865:Papyrus Oxyrhynchus 31
5010:Dido building Carthage
4690:English National Opera
4660:English National Opera
4643:Les vĂȘpres siciliennes
4588:English National Opera
4564:English National Opera
4552:English National Opera
4528:English National Opera
4433:English National Opera
4409:English National Opera
4152:Grande messe des morts
3698:Les Troyens Ă Carthage
3590:Les Troyens Ă Carthage
3472:Christa Ludwig as Dido
3462:Goldberg 1988, p. 188.
3342:Goldberg 1988, p. 185.
3154:Goldberg 1988, p. 218.
3071:(645): 12. April 2016.
2976:. pp. 1742, 1747.
2837:Goldberg 1988, p. 181.
2333:
2300:
2234:
2197:
2097:
1960:
1120:
1073:as ĂnĂ©e, conducted by
1045:as ĂnĂ©e, conducted by
922:in New York. In 1973,
714:Les Troyens Ă Carthage
683:Les Troyens Ă Carthage
658:
621:Les Troyens Ă Carthage
544:Les Troyens Ă Carthage
532:Les Troyens Ă Carthage
459:Les Troyens Ă Carthage
453:as ĂnĂ©e, conducted by
437:: the first, Act 2 of
398:
299:Chasse Royale et Orage
288:Les Troyens Ă Carthage
271:
268:Les Troyens Ă Carthage
238:
176:Les Troyens Ă Carthage
6120:Sulpicius Apollinaris
5765:(1687 Lully/Collasse)
4631:Einstein on the Beach
4571:Pelléas and Mélisande
4392:La damnation de Faust
4195:La Damnation de Faust
4097:Symphonie fantastique
3955:in Extracts from the
3622:Berlioz 2003, p. III.
3477:27 April 2014 at the
3246:Kaufman, Tom (2004).
2989:Holomon 1992, p. 828.
2712:10.1093/ml/45.1.102-b
2524:b) Danse des Esclaves
2331:
2298:
2225:
2195:
2159:(mainly instrumental)
2095:
1950:
1923:roulement de tonnerre
1913:Percussion: pairs of
1410:Wilhelm GuggenbĂŒhler
1269:poet to Didon's court
1144:Adolphe Deloffre
1089:, the British critic
848:On 5 May 1964 at the
829:on 27 March 1955, in
738:and broadcast at the
652:
640:Théùtre de la Monnaie
638:In December 1906 the
471:Frank Van der Stucken
421:; and another by the
392:
265:
6181:Operas set in Africa
6171:Music based on poems
5967:Laocoön and His Sons
4667:Cavalleria rusticana
4469:Welsh National Opera
4457:Welsh National Opera
4295:Musée Hector-Berlioz
4068:Béatrice et Bénédict
3847:GroĂes SĂ€ngerlexikon
3801:. London: Macmillan.
3293:on 30 September 2007
2743:10.1093/jrma/95.1.97
1894:), contrabasses in E
1490:Two Trojan soldiers
1380:Christine Friedlein
1171:Trojan hero, son of
1015:De Nederlandse Opera
926:conducted the first
586:Cambridge University
5983:The Dream of Aeneas
5880:Vergilius Vaticanus
5870:Vergilius Augusteus
5762:Achille et PolyxĂšne
5683:history of Britain)
5027:Low Ham Roman Villa
4600:Royal Opera, London
4576:Royal Opera, London
4540:Royal Opera, London
4516:Royal Opera, London
4504:Royal Opera, London
4492:Royal Opera, London
4452:La clemenza di Tito
4445:Royal Opera, London
4421:Royal Opera, London
4397:Royal Opera, London
4385:Royal Opera, London
4203:L'Enfance du Christ
3651:(Adrian Corleonis,
3641:John Eliot Gardiner
3637:Théùtre du Chùtelet
3513:1864 libretto, p. 2
3381:"BSO Press Release"
3331:. pp. 460â461.
3256:The Opera Quarterly
3166:Wolff 1962, p. 218.
2864:Walsh 1981, p. 170.
2774:10.1093/ml/44.3.249
2762:Music & Letters
2700:Music & Letters
1921:, thunder machine (
1917:, several pairs of
1796:, 2 pairs of small
1782:tambour sans timbre
1656:; Invisible spirits
1543:sister of Cassandre
1402:tenor or contralto
1081:Critical evaluation
1051:San Francisco Opera
1011:John Eliot Gardiner
1007:Théùtre du Chùtelet
835:San Francisco Opera
810:The performance of
780:Margherita Wallmann
443:7th Regiment Armory
427:Théùtre du Chùtelet
415:Anne Charton-Demeur
199:Composition history
188:Théùtre de la Ville
141:[letÊwajÉÌ]
120:Théùtre de la Ville
6065:Sortes Vergilianae
6055:Dactylic hexameter
5818:Didone abbandonata
5810:Didone abbandonata
5802:Didone abbandonata
5794:Didone abbandonata
5786:Didone abbandonata
5673:Historia Brittonum
5517:Evander of Pallene
4915:Didone abbandonata
4907:Didone abbandonata
4899:Didone abbandonata
4894:(1724, Metastasio)
4891:Didone abbandonata
4595:Tristan und Isolde
4499:Boulevard Solitude
4428:Tristan und Isolde
4214:Songs and cantatas
4171:Other choral works
3577:La perle du Brésil
3235:on 2 January 2013.
2972:on disc at last".
2334:
2301:
2235:
2198:
2098:
1985:large wooden horse
1961:
1485:Hermann Rosenberg
1437:A Greek chieftain
1279:Hermann Rosenberg
1069:as Cassandre, and
1037:as Cassandre, and
1027:Francesca Zambello
928:Metropolitan Opera
659:
599:In early 2016 the
566:BĂ€renreiter Verlag
407:Concerts Pasdeloup
399:
357:La perle du Brésil
272:
6133:
6132:
6060:Hysteron proteron
5875:Vergilius Romanus
5860:Book of Ballymote
5625:
5624:
5421:Pygmalion of Tyre
5042:
5041:
4886:(1693, Desmarets)
4776:
4775:
4726:Royal Opera House
4714:Royal Opera House
4619:Castor and Pollux
4487:The Greek Passion
4464:Hansel and Gretel
4331:
4330:
4121:Roméo et Juliette
4060:Benvenuto Cellini
3959:of Hector Berlioz
3930:978-2-05-000214-2
3915:978-0-7145-3659-0
3874:978-0-460-03156-1
3856:978-3-598-11598-1
3807:, editor (1988).
3778:978-0-674-06778-3
3754:978-0-7139-9386-8
3721:978-0-375-41391-9
3535:Almanacco Amadeus
3283:"Epic at the Met"
3268:10.1093/oq/kbh087
3195:The Musical Times
2895:(1519): 919â921.
2889:The Musical Times
2627:La scĂšne de Sinon
2521:a) Pas des Almées
2514:No. 33. Ballets:
2111:and their queen,
1661:
1660:
1607:her son (8 years)
1513:baritone or bass
1386:Supporting roles:
1326:Luise Reuss-Belce
1255:Jules-Ămile Petit
1193:Alfred OberlÀnder
1153:6â7 December 1890
1059:Royal Opera House
1055:Sir David McVicar
1039:Marcello Giordani
992:Montreal Symphony
984:Los Angeles Opera
962:as Cassandre and
858:Georges SĂ©bastian
752:Royal Opera House
720:was performed by
679:La prise de Troie
540:La prise de Troie
439:La prise de Troie
403:La prise de Troie
395:La Prise de Troie
379:La prise de Troie
370:Giacomo Meyerbeer
192:Place du ChĂątelet
164:'s epic poem the
128:
127:
116:(last three acts)
16:(Redirected from
6218:
6091:The Golden Bough
6007:The Golden Bough
5929:Mind over matter
5781:(1693 Desmarets)
5730:(1798 mock epic)
5705:
5702:
5682:
5679:
5094:
5069:
5062:
5055:
5046:
4926:(1783, Piccinni)
4910:(1724, Albinoni)
4864:(1688, Purcell)
4803:
4796:
4789:
4780:
4636:Barbican Theatre
4624:Coliseum Theatre
4547:Madama Butterfly
4358:
4351:
4344:
4335:
4321:
4311:
4310:
4245:
4145:Messe solennelle
4137:Liturgical works
4113:Harold en Italie
4052:Les Francs-juges
4012:
4005:
3998:
3989:
3983:, 12 August 2001
3945:: Scores at the
3897:Internet Archive
3789:(âThe Trojansâ)"
3766:Holoman, D. Kern
3684:
3681:
3675:
3668:
3662:
3629:
3623:
3620:
3614:
3603:
3597:
3586:
3580:
3569:
3563:
3561:
3556:6 December 1890"
3555:
3544:
3538:
3522:
3516:
3509:
3503:
3500:
3491:
3488:
3482:
3469:
3463:
3460:
3454:
3453:
3451:
3449:
3430:
3424:
3423:
3421:
3419:
3404:
3398:
3395:
3389:
3388:
3377:
3371:
3368:
3362:
3352:
3343:
3340:
3334:
3332:
3318:
3312:
3309:
3303:
3302:
3300:
3298:
3289:. Archived from
3278:
3272:
3271:
3243:
3237:
3236:
3231:. Archived from
3225:
3219:
3218:
3190:
3184:
3173:
3167:
3164:
3155:
3152:
3146:
3145:
3143:
3141:
3126:
3120:
3119:
3117:
3115:
3106:. Archived from
3096:
3090:
3089:
3079:
3073:
3072:
3062:
3056:
3053:
3047:
3046:
3035:
3029:
3028:
2996:
2990:
2987:
2978:
2977:
2965:
2952:
2951:
2949:
2947:
2937:
2931:
2928:
2922:
2919:
2913:
2912:
2880:
2874:
2871:
2865:
2862:
2856:
2853:
2838:
2835:
2829:
2826:
2820:
2817:
2811:
2810:
2808:
2806:
2792:
2786:
2785:
2753:
2747:
2746:
2722:
2716:
2715:
2691:
2685:
2682:
2676:
2675:
2664:
2583:Second Tableau:
2500:Second Tableau:
2424:Second Tableau:
1957:Domenico Tiepolo
1909:
1908:
1899:
1898:
1893:
1892:
1887:
1886:
1881:
1880:
1875:
1874:
1869:
1868:
1858:
1857:
1849:
1848:
1840:
1839:
1574:Pauline Mailhac
1346:, prince of Tyre
1247:minister to Dido
1151:(complete opera)
1127:
1075:Donald Runnicles
964:Tatiana Troyanos
930:performances of
878:Alexander Gibson
870:critical edition
762:and directed by
691:Philippe Gaubert
663:Théùtre des Arts
657:in Rouen, France
578:critical edition
423:Concerts Colonne
182:'s company, the
143:
138:
115:
113:
62:
39:
21:
6226:
6225:
6221:
6220:
6219:
6217:
6216:
6215:
6136:
6135:
6134:
6129:
6069:
6038:
6013:
5954:
5884:
5848:
5829:(1783 Piccinni)
5805:(1724 Albinoni)
5770:Dido and Aeneas
5741:
5703:
5680:
5660:
5621:
5452:Ajax the Lesser
5425:
5384:
5163:
5085:
5073:
5043:
5038:
5015:
4997:
4979:
4964:
4945:
4942:(1863, Berlioz)
4934:(1792, Storace)
4861:Dido and Aeneas
4856:(1641, Cavalli)
4840:
4819:
4807:
4777:
4772:
4767:The Royal Opera
4755:The Royal Opera
4743:The Royal Opera
4732:(2021 Covid-19)
4702:The Royal Opera
4678:The Royal Opera
4648:The Royal Opera
4474:
4367:
4362:
4332:
4327:
4299:
4275:
4248:
4237:Les Nuits d'été
4209:
4166:
4132:
4088:
4082:
4039:
4021:
4016:
3970:Description of
3939:
3862:Macdonald, Hugh
3693:
3688:
3687:
3682:
3678:
3669:
3665:
3630:
3626:
3621:
3617:
3604:
3600:
3587:
3583:
3570:
3566:
3559:
3553:
3545:
3541:
3523:
3519:
3510:
3506:
3501:
3494:
3489:
3485:
3479:Wayback Machine
3470:
3466:
3461:
3457:
3447:
3445:
3444:on 4 March 2008
3432:
3431:
3427:
3417:
3415:
3406:
3405:
3401:
3396:
3392:
3387:. 3 April 2008.
3379:
3378:
3374:
3369:
3365:
3353:
3346:
3341:
3337:
3320:
3319:
3315:
3310:
3306:
3296:
3294:
3280:
3279:
3275:
3245:
3244:
3240:
3227:
3226:
3222:
3192:
3191:
3187:
3177:Annals of Opera
3174:
3170:
3165:
3158:
3153:
3149:
3139:
3137:
3128:
3127:
3123:
3113:
3111:
3110:on 26 July 2011
3098:
3097:
3093:
3081:
3080:
3076:
3064:
3063:
3059:
3054:
3050:
3037:
3036:
3032:
2998:
2997:
2993:
2988:
2981:
2967:
2966:
2955:
2945:
2943:
2939:
2938:
2934:
2929:
2925:
2920:
2916:
2882:
2881:
2877:
2872:
2868:
2863:
2859:
2854:
2841:
2836:
2832:
2827:
2823:
2818:
2814:
2804:
2802:
2796:"Choudens et C"
2794:
2793:
2789:
2755:
2754:
2750:
2724:
2723:
2719:
2693:
2692:
2688:
2683:
2679:
2666:
2665:
2661:
2656:
2651:
2646:
2637:
2624:
2619:
2602:Third Tableau:
2600:
2581:
2555:First Tableau:
2553:
2548:
2498:
2490:First Tableau:
2488:
2483:
2443:
2438:
2422:
2411:First Tableau:
2409:
2404:
2367:
2355:
2353:Musical numbers
2345:to avenge her.
2263:
2153:
2090:
2036:
1966:
1945:
1906:
1905:
1896:
1895:
1890:
1889:
1884:
1883:
1878:
1877:
1872:
1871:
1866:
1865:
1855:
1854:
1851:), sopranos in
1846:
1845:
1837:
1836:
1833:: sopranino in
1798:antique cymbals
1770:caisse roulante
1666:
1664:Instrumentation
1553:Annetta Heller
1360:Pauline Mailhac
1347:
1156:
1154:
1152:
1150:
1141:
1139:
1138:(Acts 3â5 only)
1137:
1125:
1087:piano reduction
1083:
956:PlĂĄcido Domingo
936:Shirley Verrett
866:
823:Boris Goldovsky
772:
707:Martial Singher
613:
605:Pauline Viardot
528:
479:
463:Chickering Hall
455:Theodore Thomas
451:Italo Campanini
431:Edouard Colonne
387:
284:Théùtre Lyrique
260:
255:
201:
184:Théùtre Lyrique
136:
124:
123:
117:
111:
109:
95:
65:
35:
28:
23:
22:
15:
12:
11:
5:
6224:
6222:
6214:
6213:
6208:
6203:
6198:
6193:
6188:
6183:
6178:
6173:
6168:
6163:
6158:
6153:
6148:
6138:
6137:
6131:
6130:
6128:
6127:
6122:
6117:
6109:
6093:
6088:
6083:
6081:Brutus of Troy
6077:
6075:
6071:
6070:
6068:
6067:
6062:
6057:
6052:
6046:
6044:
6040:
6039:
6037:
6036:
6029:
6021:
6019:
6015:
6014:
6012:
6011:
6003:
5995:
5987:
5979:
5971:
5962:
5960:
5956:
5955:
5953:
5952:
5945:
5938:
5931:
5926:
5923:Lacrimae rerum
5919:
5914:
5907:
5900:
5892:
5890:
5886:
5885:
5883:
5882:
5877:
5872:
5867:
5862:
5856:
5854:
5850:
5849:
5847:
5846:
5845:(1858 Berlioz)
5838:
5837:(1792 Storace)
5830:
5822:
5814:
5806:
5798:
5790:
5782:
5774:
5773:(1688 Purcell)
5766:
5758:
5757:(1641 Cavalli)
5749:
5747:
5743:
5742:
5740:
5739:
5731:
5723:
5715:
5707:
5692:
5684:
5668:
5666:
5662:
5661:
5659:
5658:
5650:
5642:
5633:
5631:
5627:
5626:
5623:
5622:
5620:
5619:
5614:
5609:
5604:
5599:
5594:
5589:
5584:
5579:
5574:
5569:
5564:
5559:
5554:
5549:
5544:
5539:
5534:
5529:
5524:
5519:
5514:
5509:
5504:
5499:
5494:
5489:
5484:
5479:
5474:
5469:
5464:
5459:
5454:
5449:
5444:
5439:
5433:
5431:
5427:
5426:
5424:
5423:
5418:
5413:
5408:
5403:
5398:
5392:
5390:
5386:
5385:
5383:
5382:
5377:
5372:
5367:
5362:
5357:
5352:
5347:
5342:
5337:
5332:
5327:
5322:
5317:
5312:
5307:
5302:
5297:
5292:
5287:
5282:
5277:
5272:
5267:
5262:
5257:
5255:Dares Phrygius
5252:
5247:
5242:
5237:
5232:
5227:
5222:
5217:
5212:
5207:
5202:
5197:
5192:
5187:
5182:
5177:
5171:
5169:
5165:
5164:
5162:
5161:
5156:
5151:
5146:
5141:
5136:
5131:
5126:
5121:
5116:
5111:
5106:
5100:
5098:
5091:
5087:
5086:
5074:
5072:
5071:
5064:
5057:
5049:
5040:
5039:
5037:
5036:
5029:
5023:
5021:
5017:
5016:
5014:
5013:
5005:
5003:
4999:
4998:
4996:
4995:
4987:
4985:
4981:
4980:
4972:
4970:
4966:
4965:
4963:
4962:
4953:
4951:
4947:
4946:
4944:
4943:
4935:
4927:
4919:
4911:
4903:
4895:
4887:
4879:
4878:
4877:
4870:
4857:
4848:
4846:
4842:
4841:
4839:
4838:
4833:
4827:
4825:
4821:
4820:
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4709:Katya Kabanova
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4019:Hector Berlioz
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4007:
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3937:External links
3935:
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3607:Opéra-National
3598:
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3573:FĂ©licien David
3564:
3539:
3517:
3504:
3492:
3483:
3464:
3455:
3425:
3413:New York Times
3399:
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3262:(4): 734â740.
3238:
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3017:10.2307/895893
3011:(4): 792â793.
3007:. 2nd Series.
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2901:10.2307/952977
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2768:(3): 249â256.
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2706:(1): 102â103.
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2639:Main article:
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1888:(or horns in E
1882:), tenors in E
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1698:(2nd doubling
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1368:Didon's sister
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1351:mezzo-soprano
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1217:Marcel Cordes
1215:
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1149:Premiere cast,
1147:
1136:Premiere cast,
1134:
1131:
1124:
1121:
1082:
1079:
979:Opéra Bastille
944:Christa Ludwig
924:Rafael KubelĂk
908:Sarah Caldwell
874:Scottish Opera
865:
862:
805:Georges PrĂȘtre
792:RĂ©gine Crespin
788:Pierre Dervaux
771:
768:
760:Rafael KubelĂk
748:Charles Cambon
744:Jean Giraudeau
736:Thomas Beecham
699:Germaine Lubin
695:Thomas Beecham
675:Opéra in Paris
612:
609:
582:Hugh Macdonald
527:
524:
520:white elephant
478:
475:
457:; the second,
449:as Cassandre,
447:Amalie Materna
411:Cirque d'Hiver
386:
383:
352:FĂ©licien David
259:
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154:Hector Berlioz
148:) is a French
144:; in English:
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52:Hector Berlioz
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5911:Experto crede
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5904:Annuit cĆptis
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5688:Roman d'Enéas
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4975:Roman d'Enéas
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4952:
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4918:(1762, Sarti)
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4909:
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4902:(1724, Sarro)
4901:
4900:
4896:
4893:
4892:
4888:
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4884:
4880:
4875:
4874:Dido's Lament
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4406:
4405:
4404:Khovanshchina
4401:
4398:
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4389:
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4110:
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4106:
4102:
4100:
4098:
4094:
4093:
4091:
4089:and overtures
4085:
4079:
4077:
4073:
4071:
4069:
4065:
4063:
4061:
4057:
4055:
4053:
4049:
4048:
4046:
4042:
4036:
4033:
4031:
4030:List of works
4028:
4027:
4024:
4020:
4013:
4008:
4006:
4001:
3999:
3994:
3993:
3990:
3984:
3982:
3977:
3975:
3973:
3968:
3965:
3962:
3960:
3958:
3954:
3950:
3948:
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3940:
3936:
3931:
3927:
3923:
3919:
3916:
3912:
3908:
3904:
3901:
3898:
3894:
3890:
3889:9780874718515
3886:
3882:
3878:
3875:
3871:
3867:
3863:
3860:
3857:
3853:
3849:
3848:
3843:
3839:
3838:Kutsch, K. J.
3836:
3833:
3829:
3825:
3821:
3818:
3817:9780521348133
3814:
3810:
3806:
3803:
3800:
3799:Stanley Sadie
3796:
3795:
3790:
3788:
3782:
3779:
3775:
3771:
3767:
3764:
3761:
3758:
3755:
3751:
3747:
3743:
3742:Cairns, David
3740:
3737:
3733:
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3725:
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3699:
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3078:
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3070:
3069:
3061:
3058:
3052:
3049:
3044:
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3034:
3031:
3026:
3022:
3018:
3014:
3010:
3006:
3002:
2995:
2992:
2986:
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2975:
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2879:
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2801:
2797:
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2767:
2763:
2759:
2752:
2749:
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2740:
2736:
2732:
2728:
2721:
2718:
2713:
2709:
2705:
2701:
2697:
2690:
2687:
2684:Berlioz 2003.
2681:
2678:
2673:
2669:
2663:
2660:
2653:
2648:
2645:
2643:
2634:
2629:
2626:
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2428:
2427:
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2418:
2415:
2414:
2412:
2406:
2400:
2397:
2394:
2391:
2388:
2385:
2382:
2379:
2376:
2373:
2370:
2369:
2364:
2362:
2361:vocal score.
2360:
2352:
2350:
2346:
2344:
2340:
2330:
2324:
2321:
2320:
2319:
2316:
2312:
2306:
2303:
2302:
2297:
2293:
2291:
2285:
2282:
2280:
2275:
2268:
2265:
2264:
2260:
2258:
2256:
2252:
2248:
2245:, who killed
2244:
2241:, the son of
2240:
2232:
2228:
2227:ĂnĂ©e et Didon
2224:
2220:
2218:
2214:
2209:
2203:
2200:
2199:
2194:
2190:
2188:
2184:
2180:
2176:
2172:
2167:
2158:
2155:
2154:
2150:
2148:
2144:
2142:
2137:
2133:
2128:
2126:
2122:
2118:
2114:
2110:
2109:Carthaginians
2103:
2100:
2099:
2094:
2087:
2085:
2083:
2078:
2073:
2069:
2062:
2059:
2058:
2057:
2055:
2051:
2044:
2041:
2040:
2039:
2033:
2031:
2028:
2024:
2020:
2017:
2013:
2008:
2006:
2002:
1998:
1994:
1990:
1989:Pallas Athene
1986:
1982:
1978:
1971:
1968:
1967:
1963:
1958:
1954:
1949:
1942:
1936:
1932:
1928:
1924:
1920:
1916:
1912:
1903:
1870:), altos in B
1863:
1859:
1850:
1841:
1832:
1829:
1826:
1823:
1822:
1820:
1816:
1813:
1811:
1807:
1803:
1799:
1795:
1791:
1787:
1783:
1779:
1775:
1771:
1767:
1763:
1759:
1755:
1751:
1747:
1744:
1742:
1738:
1734:
1730:
1729:valve cornets
1726:
1722:
1718:
1715:
1713:
1709:
1708:bass clarinet
1705:
1701:
1697:
1693:
1689:
1685:
1681:
1678:
1677:
1675:
1671:
1670:
1669:
1663:
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1600:
1597:
1594:
1591:
1589:
1587:
1582:
1578:
1577:
1573:
1570:
1567:
1565:
1564:Queen of Troy
1561:
1557:
1556:
1552:
1549:
1546:
1544:
1540:
1536:
1535:
1532:
1530:
1527:
1525:
1521:
1520:
1517:
1515:
1512:
1510:
1506:
1502:
1501:
1498:
1496:Guyot, Teste
1495:
1492:
1489:
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1481:
1478:
1476:
1472:
1469:
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1465:
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1432:
1429:
1426:
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1417:
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1413:
1409:
1407:
1404:
1401:
1399:
1397:
1391:
1390:
1387:
1383:
1379:
1377:Marie Dubois
1376:
1374:
1371:
1369:
1365:
1364:
1361:
1358:
1356:
1353:
1350:
1348:
1345:
1341:
1335:
1331:
1330:
1327:
1324:
1321:
1319:
1318:mezzo-soprano
1316:
1314:
1310:
1306:
1305:
1301:
1298:
1296:
1293:
1291:
1287:
1283:
1282:
1278:
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1236:
1234:
1231:
1229:
1225:
1221:
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1213:
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1202:
1198:
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1191:
1189:
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1181:
1179:
1178:
1174:
1168:
1164:
1163:
1159:
1148:
1145:
1135:
1132:
1129:
1128:
1122:
1119:
1117:
1113:
1109:
1103:
1100:
1096:
1092:
1088:
1080:
1078:
1076:
1072:
1068:
1064:
1060:
1056:
1052:
1048:
1044:
1040:
1036:
1035:Deborah Voigt
1032:
1028:
1024:
1020:
1016:
1012:
1008:
1004:
999:
997:
993:
989:
985:
980:
976:
972:
967:
965:
961:
960:Jessye Norman
957:
953:
949:
945:
941:
937:
933:
929:
925:
921:
920:Carnegie Hall
917:
913:
909:
905:
900:
898:
893:
892:
887:
883:
879:
875:
871:
863:
861:
859:
855:
851:
846:
844:
843:Jean PĂ©risson
840:
836:
832:
828:
824:
820:
815:
813:
808:
806:
802:
797:
793:
789:
785:
781:
777:
769:
767:
765:
761:
758:conducted by
757:
756:Covent Garden
753:
749:
745:
741:
737:
733:
729:
727:
726:Erik Chisholm
723:
719:
715:
710:
708:
704:
703:Georges Thill
700:
696:
692:
688:
684:
680:
676:
672:
668:
664:
656:
651:
647:
645:
641:
636:
634:
630:
626:
622:
618:
617:Opéra-Comique
610:
608:
606:
602:
597:
595:
591:
590:Covent Garden
587:
583:
579:
575:
571:
567:
562:
560:
556:
552:
547:
545:
541:
535:
533:
525:
523:
521:
517:
512:
510:
505:
501:
497:
493:
489:
485:
476:
474:
472:
468:
464:
460:
456:
452:
448:
444:
440:
436:
432:
428:
424:
420:
416:
412:
408:
404:
396:
391:
384:
382:
380:
375:
371:
366:
363:
359:
358:
353:
349:
345:
341:
337:
332:
328:
324:
320:
316:
312:
308:
304:
300:
295:
293:
289:
285:
281:
280:LĂ©on Carvalho
277:
269:
264:
257:
252:
250:
248:
244:
237:
235:
231:
226:
222:
218:
212:
210:
206:
198:
196:
193:
189:
185:
181:
180:LĂ©on Carvalho
177:
173:
169:
168:
163:
159:
155:
151:
147:
142:
134:
133:
121:
106:
102:
99:
94:
93:
88:
84:
80:
76:
72:
68:
61:
56:
53:
49:
45:
40:
37:
33:
19:
6156:Grand operas
6125:Trojan Horse
6113:
6105:
6101:
6100:and Homer's
6097:
6031:
6005:
5997:
5989:
5981:
5973:
5965:
5947:
5940:
5933:
5921:
5909:
5902:
5895:
5841:
5840:
5832:
5824:
5821:(1762 Sarti)
5816:
5813:(1726 Vinci)
5808:
5800:
5797:(1724 Sarro)
5792:
5784:
5776:
5768:
5760:
5752:
5738:(2008 novel)
5733:
5725:
5717:
5714:(1751 novel)
5709:
5694:
5686:
5671:
5652:
5644:
5636:
5442:Achaemenides
5401:Anna Perenna
5079:
5031:
5008:
4990:
4973:
4956:
4938:
4937:
4929:
4921:
4913:
4905:
4897:
4889:
4881:
4859:
4851:
4814:
4760:
4748:
4736:
4731:
4719:
4707:
4695:
4683:
4671:
4665:
4653:
4641:
4629:
4617:
4612:Soho Theatre
4605:
4593:
4581:
4569:
4557:
4545:
4533:
4522:
4521:
4509:
4497:
4485:
4479:2001âpresent
4462:
4450:
4438:
4426:
4414:
4402:
4390:
4378:
4286:
4267:
4259:
4236:
4229:Prix de Rome
4228:
4220:
4202:
4194:
4186:
4178:
4159:
4151:
4143:
4120:
4112:
4104:
4096:
4075:
4074:
4067:
4059:
4051:
3980:
3974:at Naxos.com
3971:
3956:
3952:
3921:
3906:
3903:Walsh, T. J.
3880:
3865:
3845:
3842:Riemens, Leo
3823:
3808:
3792:
3787:Troyens, Les
3786:
3769:
3745:
3727:
3712:
3697:
3679:
3666:
3652:
3632:
3627:
3618:
3610:
3601:
3589:
3584:
3576:
3567:
3560:(in Italian)
3549:
3542:
3527:Le MĂ©nestrel
3525:
3520:
3507:
3486:
3467:
3458:
3446:. Retrieved
3442:the original
3437:
3428:
3416:. Retrieved
3412:
3402:
3393:
3384:
3375:
3366:
3358:
3338:
3326:
3316:
3307:
3295:. Retrieved
3291:the original
3286:
3276:
3259:
3255:
3249:
3241:
3233:the original
3223:
3201:(1416): 99.
3198:
3194:
3188:
3176:
3171:
3150:
3138:. Retrieved
3134:
3124:
3112:. Retrieved
3108:the original
3103:
3094:
3083:
3077:
3066:
3060:
3051:
3043:
3039:
3033:
3008:
3004:
3000:
2994:
2973:
2969:
2944:. Retrieved
2935:
2926:
2917:
2892:
2888:
2884:
2878:
2869:
2860:
2833:
2824:
2815:
2803:. Retrieved
2799:
2790:
2765:
2761:
2757:
2751:
2734:
2730:
2726:
2720:
2703:
2699:
2695:
2689:
2680:
2662:
2641:
2601:
2582:
2554:
2499:
2489:
2423:
2410:
2356:
2347:
2335:
2322:
2317:
2313:
2309:
2304:
2289:
2286:
2283:
2278:
2271:
2266:
2254:
2236:
2226:
2210:
2206:
2201:
2186:
2162:
2156:
2145:
2129:
2106:
2101:
2081:
2065:
2060:
2047:
2042:
2037:
2021:
2009:
1974:
1969:
1952:
1951:Detail from
1922:
1843:
1789:
1781:
1769:
1700:English horn
1694:piccolo), 2
1667:
1639:
1622:
1621:Le Rapsode,
1606:
1584:
1579:Andromaque (
1563:
1542:
1522:A Priest of
1508:
1474:
1456:
1446:Fritz Plank
1419:
1406:Edmond Cabel
1393:
1385:
1367:
1337:
1312:
1299:Mme Estagel
1289:
1265:
1259:Fritz Plank
1246:
1227:
1204:
1170:
1142:(Conductor:
1107:
1105:
1099:B. H. Haggin
1094:
1091:W. J. Turner
1084:
1063:Susan Graham
1031:Susan Graham
1019:Edo de Waart
1002:
1000:
987:
974:
968:
952:James Levine
947:
931:
903:
901:
896:
889:
867:
854:Buenos Aires
850:Teatro ColĂłn
847:
818:
816:
811:
809:
807:conducting.
775:
773:
764:John Gielgud
746:as ĂnĂ©e and
731:
730:
717:
713:
711:
682:
678:
670:
660:
654:
637:
625:same theatre
620:
614:
598:
573:
563:
551:W. J. Turner
548:
543:
539:
536:
531:
529:
516:David Cairns
513:
480:
458:
438:
419:Ernest Reyer
402:
400:
394:
378:
367:
355:
348:Edmond Cabel
335:
298:
296:
291:
287:
273:
267:
239:
224:
214:
202:
175:
171:
165:
145:
131:
130:
129:
90:
36:
6206:1863 operas
6050:Aposiopesis
5853:Manuscripts
5842:Les Troyens
5722:(1729 poem)
5719:The Dunciad
5704: 1593
5691:(1160 poem)
5638:The Avenger
5630:Film and TV
5572:Neoptolemus
5389:Phoenicians
4939:Les Troyens
4868:discography
4440:Paul Bunyan
4291:(1942 film)
4076:Les Troyens
3981:Les Troyens
3972:Les Troyens
3953:Les Troyens
3943:Les Troyens
3633:Les Troyens
3550:Les troyens
3533:. Although
3418:3 September
3385:www.bso.org
3248:"Review of
3140:2 September
3042:Les Troyens
3001:Les Troyens
2970:Les Troyens
2885:Les Troyens
2800:data.bnf.fr
2758:Les Troyens
2727:Les Troyens
2696:Les Troyens
2644:discography
2642:Les Troyens
2134:. The bard
2010:A captive,
1925:), antique
1827:3 trombones
1342:, widow of
1307:Cassandre (
1158:Felix Mottl
1155:(Conductor:
1133:Voice type
1108:Les Troyens
1095:Les Troyens
1071:Bryan Hymel
1047:Fabio Luisi
1043:Bryan Hymel
1003:Les Troyens
988:Les Troyens
975:Les Troyens
971:Tony Palmer
948:Les Troyens
932:Les Troyens
916:John Nelson
904:Les Troyens
897:Les Troyens
882:Colin Davis
839:Jon Vickers
819:Les Troyens
812:Les Troyens
796:Guy Chauvet
784:Piero Zuffi
776:Les Troyens
732:Les Troyens
718:Les Troyens
671:Les Troyens
655:Les Troyens
633:Jules Danbé
629:Marie Delna
594:Colin Davis
574:Les Troyens
496:Felix Mottl
374:magnum opus
276:Paris Opéra
172:Les Troyens
150:grand opera
146:The Trojans
132:Les Troyens
48:Grand opera
42:Les Troyens
18:Les troyens
6140:Categories
5681: 828
5665:Literature
5210:Antiphates
5205:Andromache
5090:Characters
4992:Simple Man
4824:Characters
4721:Billy Budd
4697:Semiramide
4416:Billy Budd
4087:Symphonies
3832:0810861100
3359:Gramophone
2974:Gramophone
2737:: 97â110.
2649:References
2635:Recordings
2622:Supplement
2001:Andromaque
1860:(or valve
1821:Offstage:
1786:tenor drum
1766:tenor drum
1746:Percussion
1737:ophicleide
1581:Andromache
1537:PolyxĂšne (
1276:De Quercy
1240:Carl Nebe
1065:as Didon,
1033:as Didon,
966:as Didon.
891:Gramophone
561:for help.
559:underworld
555:Cecil Gray
467:Max Alvary
344:bronchitis
137:pronounced
112:1863-11-04
70:Librettist
5986:(1660â65)
5567:Mezentius
5502:Cydonians
5472:Aventinus
5467:Automedon
5462:Androgeus
5375:Thymoetes
5365:Sergestus
5330:Palinurus
5315:Mnestheus
5290:Hippocoon
5260:Deiphobus
5240:Corynaeus
5230:Cassandra
5154:Tiberinus
4961:(c. 1593)
4762:Innocence
4673:Pagliacci
4583:Partenope
4380:Stiffelio
4372:1993â2000
4181:, Op. 14b
4128:Overtures
3805:Kemp, Ian
3611:La Patrie
3448:10 August
3297:10 August
3135:ResMusica
1993:Cassandre
1808:, 6 or 8
1790:tambourin
1758:bass drum
1754:triangles
1733:trombones
1704:clarinets
1680:Woodwinds
1674:orchestra
1503:Mercure (
1451:Ghost of
1373:contralto
1338:Queen of
1309:Cassandra
1284:Ascagne (
1222:Panthée (
1199:ChorĂšbe (
1112:Meyerbeer
910:with her
825:with the
803:in 1965,
564:In 1969,
511:in 1891.
488:Karlsruhe
234:Cassandra
190:) on the
5942:Quos ego
5897:Ad astra
5649:(1971â2)
5557:Messapus
5522:Halaesus
5507:Diomedes
5487:Catillus
5416:Mattan I
5380:Ucalegon
5340:Panthous
5335:Pandarus
5295:Ilioneus
5275:Euryalus
5270:Entellus
5250:Dardanus
5215:Ascanius
5200:Anchises
5109:Crinisus
4685:Akhnaten
4313:Category
4269:MĂ©moires
4231:cantatas
4205:, Op. 25
4197:, Op. 24
4189:, Op. 18
4162:, Op. 22
4123:, Op. 17
4115:, Op. 16
4107:, Op. 15
4099:, Op. 14
4078:, Op. 29
4070:, Op. 27
4062:, Op. 23
3905:(1981).
3864:(1982).
3844:(2003).
3768:(1989).
3744:(1999).
3736:WorldCat
3732:Listings
3645:saxhorns
3475:Archived
3068:Diapason
2672:Archived
2339:Hannibal
2274:Phrygian
2272:A young
2213:Egyptian
2125:Numidian
2077:PolyxĂšne
2005:Astyanax
1981:Achaeans
1943:Synopsis
1927:sistrums
1907:♭
1897:♭
1891:♭
1885:♭
1879:♭
1873:♭
1867:♭
1862:trumpets
1856:♭
1847:♭
1838:♭
1831:Saxhorns
1776:without
1725:trumpets
1712:bassoons
1692:doubling
1638:Chorus:
1633: â
1630:Jouanny
1614: â
1603:Astyanax
1595: â
1588:'s widow
1571: â
1568:soprano
1558:HĂ©cube (
1550: â
1547:soprano
1539:Polyxena
1482: â
1443: â
1430: â
1420:King of
1396:Phrygian
1394:a young
1344:Sychaeus
1340:Carthage
1322: â
1286:Ascanius
1245:Narbal,
1224:Panthous
1214: â
1210:baritone
1201:Coroebus
1177:Anchises
644:Brussels
623:(in the
584:, whose
500:Mannheim
435:New York
315:backdrop
158:libretto
104:Premiere
86:Based on
78:Language
6106:Odyssey
6086:Eneados
6074:Related
5970:(25 BC)
5889:Phrases
5735:Lavinia
5654:Eneyida
5617:Venulus
5562:Metabus
5547:Lavinia
5537:Latinus
5532:Juturna
5492:Clytius
5482:Camilla
5437:Acestes
5396:Acerbas
5360:Ripheus
5350:Polites
5325:Ornytus
5310:Misenus
5300:Laocoön
5285:Helenus
5235:Clonius
5180:Aeneads
5175:Achates
5168:Trojans
5144:Mercury
5134:Jupiter
5097:Deities
5084:(19 BC)
5020:Related
4511:Wozzeck
4280:Related
4239:, Op. 7
4187:Tristia
4160:Te Deum
4154:, Op. 5
4054:, Op. 3
3957:Memoirs
3866:Berlioz
3770:Berlioz
3706:Gallica
3691:Sources
3654:Fanfare
3649:sistrum
3635:at the
3594:pp. 2â6
3114:25 July
2946:25 July
2805:2 March
2290:Italie!
2255:Italie!
2251:Mercury
2243:Achille
2239:Pyrrhus
2233:(1815).
2179:sylvans
2082:Italie!
2054:Ascagne
2027:Laocoön
1997:ChorĂšbe
1977:Trojans
1959:(1773).
1935:tam-tam
1931:tarbuka
1919:cymbals
1915:timpani
1824:3 oboes
1815:Strings
1794:tam-tam
1762:cymbals
1750:timpani
1684:piccolo
1672:In the
1654:Sylvans
1627:spoken
1611:silent
1592:silent
1505:Mercury
1493:basses
1471:Helenus
1392:Hylas,
1332:Didon (
1295:soprano
1264:Iopas,
1237:PĂ©ront
886:Philips
619:staged
425:at the
409:at the
307:sylvans
292:Lamento
122:, Paris
110: (
73:Berlioz
6176:Operas
6114:Aeneid
6098:Aeneid
6010:(1834)
6002:(1815)
5994:(1689)
5978:(1619)
5754:Didone
5727:Eneida
5711:Amelia
5657:(1991)
5646:Eneide
5641:(1962)
5602:Turnus
5592:Salius
5587:Rutuli
5577:Pallas
5542:Lausus
5527:Iarbas
5512:Erulus
5430:Others
5370:Theano
5265:Elymus
5245:Creusa
5220:Caieta
5195:Aletes
5190:Aeolus
5185:Aeneas
5149:Saturn
5119:Hecate
5104:Alecto
5081:Aeneid
5076:Virgil
5033:Amelia
4978:(1160)
4969:Poetry
4853:Didone
4845:Operas
4836:Aeneas
4816:Aeneid
4811:Virgil
4769:(2024)
4757:(2023)
4750:Alcina
4745:(2022)
4738:JenĆŻfa
4728:(2020)
4716:(2019)
4704:(2018)
4692:(2017)
4680:(2016)
4662:(2015)
4650:(2014)
4638:(2013)
4626:(2012)
4614:(2011)
4607:BohĂšme
4602:(2010)
4590:(2009)
4578:(2008)
4566:(2007)
4559:Jenufa
4554:(2006)
4542:(2005)
4530:(2004)
4518:(2003)
4506:(2002)
4494:(2001)
4471:(2000)
4459:(1999)
4447:(1998)
4435:(1997)
4423:(1996)
4411:(1995)
4399:(1994)
4387:(1993)
4272:(1865)
4264:(1844)
4044:Operas
3928:
3913:
3887:
3872:
3854:
3830:
3815:
3776:
3752:
3719:
3554:
3215:948559
3213:
3025:895893
3023:
2909:952977
2907:
2782:731239
2780:
2359:Urtext
2247:Hector
2231:Guérin
2217:Nubian
2183:satyrs
2181:, and
2171:nymphs
2166:naiads
2132:Sichée
2123:, the
2121:Iarbas
2072:Cybele
2050:Hector
1778:snares
1688:flutes
1652:, and
1646:Satyrs
1642:Nymphs
1586:Hector
1560:Hecuba
1479:tenor
1453:Hector
1398:sailor
1366:Anna,
1273:tenor
1267:Tyrian
1167:Aeneas
1165:ĂnĂ©e (
1116:Halévy
876:under
833:. The
831:Boston
570:Kassel
504:Munich
362:francs
303:nymphs
247:Mozart
225:Aeneid
217:Weimar
205:Virgil
167:Aeneid
162:Virgil
156:. The
98:Virgil
92:Aeneid
81:French
6102:Iliad
6043:Study
6018:Music
5826:Didon
5778:Didon
5746:Opera
5706:play)
5612:Umbro
5607:Ufens
5597:Sinon
5582:Picus
5552:Macar
5497:Cydon
5477:Butes
5457:Amata
5447:Actor
5406:Belus
5355:Priam
5345:Paris
5320:Nisus
5305:Mimas
5225:Capys
5159:Venus
5124:Hymen
5114:Cupid
4984:Music
4950:Plays
4923:Didon
4883:Didon
4323:Audio
4253:Books
4179:LĂ©lio
3672:p. 15
3328:Opera
3211:JSTOR
3021:JSTOR
3005:Notes
2905:JSTOR
2778:JSTOR
2654:Notes
2551:Act 5
2486:Act 4
2441:Act 3
2407:Act 2
2365:Act 1
2261:Act 5
2175:fauns
2151:Act 4
2141:Italy
2136:Iopas
2113:Didon
2088:Act 3
2068:Vesta
2034:Act 2
2016:Priam
2012:Sinon
1964:Act 1
1902:tubas
1810:harps
1721:horns
1717:Brass
1710:), 4
1702:), 2
1696:oboes
1690:(2nd
1650:Fauns
1528:bass
1524:Pluto
1509:a God
1461:bass
1440:bass
1427:bass
1416:Priam
1251:bass
1183:tenor
1173:Venus
1130:Role
1123:Roles
996:Decca
954:with
770:1960s
687:NĂźmes
667:Rouen
576:in a
492:Roles
490:(see
445:with
413:with
340:Hylas
327:Didon
323:Iopas
319:Seine
311:fauns
243:Gluck
221:Liszt
6104:and
5411:Dido
5280:Gyas
5139:Mars
5129:Juno
4831:Dido
3926:ISBN
3911:ISBN
3893:Copy
3885:ISBN
3870:ISBN
3852:ISBN
3840:and
3828:ISBN
3813:ISBN
3774:ISBN
3750:ISBN
3717:ISBN
3702:Copy
3450:2007
3438:Time
3420:2022
3299:2007
3287:Time
3142:2022
3116:2013
2948:2013
2807:2021
2343:Rome
2117:Tyre
2107:The
2023:ĂnĂ©e
1975:The
1904:in E
1900:(or
1864:in E
1804:and
1774:drum
1741:tuba
1731:, 3
1727:, 2
1723:, 2
1719:: 4
1686:, 2
1422:Troy
1334:Dido
1233:bass
1175:and
1114:and
1041:and
868:The
553:and
542:and
509:Nice
331:ĂnĂ©e
329:and
309:and
245:and
232:and
230:Dido
89:The
5959:Art
5078:'s
5002:Art
4813:'s
4676:â
3895:at
3734:at
3704:at
3575:'s
3264:doi
3203:doi
3199:102
3013:doi
3003:".
2897:doi
2893:110
2770:doi
2760:".
2739:doi
2708:doi
2698:".
2292:".
2229:by
1955:by
1800:in
1792:),
1784:),
1772:),
1739:or
1583:),
1562:),
1541:),
1507:),
1336:),
1311:),
1288:),
1226:),
1203:),
1169:),
1013:),
852:in
801:EMI
740:BBC
685:in
665:in
642:in
568:of
486:in
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5701:c.
5678:c.
4765:â
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4658:â
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