American Record Guide. May/Jun2018, Vol. 81 Issue 3, p11-16. 3p. 1 Black and White Photograph.
The article reviews a Opera performance of Hector Berlioz's, "Beatrice and Benedict" conducted by out-going Seattle Symphony Music Director Ludovic Morlot, performed at Seattle Opera in Seattle, Washington in May 2018.
The article offers information on title character of symphony "Harold en Italie" as a social outsider whose isolation is a metaphor for the viola's struggle for acceptance throughout musical history. Topics discussed include feeling of composer Hector Berlioz of having insufficient understanding of the viola to write a virtuoso; special sound and fluid identity with heroic aspirations of the Romantic era; and encouraging viola players to seek out friendly musical environments.
Nineteenth Century French Studies. Fall2018/Winter2019, Vol. 47 Issue 1/2, p66-81. 17p.
This essay traces the genesis of Berlioz's opera Les Troyens (1856- 63) to a climactic moment of self-discovery he experienced while reading Virgil as a youth. Dido's suicide in the Aeneid one day aroused Berlioz's autobiographical self-contemplation and awakened him to the literature that would later inform his music. A close reading of Berlioz's Mémoires enables a comparison with autobiographers like Rousseau and Chateaubriand, whose youthful experiences withreading excited their earliest autobiographical revelations. Berlioz's discovery also provoked a sequence of painful but stimulating bursts of inspiration, as thoughhe were obsessed withinstants of self- contemplation induced by artistic stimuli. Finally, Berlioz's late musical tribute to Dido in the last three acts of Les Troyens can also be a tribute to his autobiographical awakening from childhood. [ABSTRACT FROM AUTHOR]
INFLUENCE (Literary, artistic, etc.), MUSICAL composition, and PARODY
The article discusses the influence of the literary works by playwright William Shakespeare on the compositions of French Romantic composer Hector Berlioz, who is known to be an interpreter of Shakespeare. It highlights Berlioz's parody of a monologue by Hamlet and examines Berlioz's role in the elevation of Shakespeare in the nineteenth-century. The ability of Berlioz to read Shakespeare in English is explored.