Benvenuto Cellini (opera) (English Wikipedia)

The conductor is mentioned by Berlioz in his memoirs (Berlioz 1969, pp. 235–236). The singers of Cellini, Teresa, Ascanio, Fieramosca, and Balducci are listed in Holoman 1989, p. 190. A poster for the premiere lists the last names of the entire cast without specifying roles (Holoman 1989, p. 191). Jullien 1888 shows costume illustrations for three additional roles: Serda as the Pope or Cardinal (p. 113), Wartel as Francesco (p. 127), and Prévôt as Bernardino (p. 120). Singers' full names and their spellings have been taken from the performers index in Jowers & Cavanagh 2000, pp. 466–502. The remaining two singers, Trévaux and Molinier have been assigned to the two remaining roles on the basis of voice type. H.-M. Trévaux was a tenor (Holoman 2004, pp. 44, 49), and Molinier sang the bass role of the herald in Verdi's Jérusalem (Budden 1973, p. 340). The conductor and major roles are listed the same by Casaglia 2005, but four of the minor roles are not, and these are assumed to be incorrect. In particular, the bass Louis-Émile Wartel, who is assigned to the role of Bernardino, was born March 31, 1834, and was only 4 years old at the time of the premiere ("Wartel" in Sadie 2001). Berlioz, Hector (1969). The Memoirs of Hector Berlioz. Translated by Cairns, David (2002 ed.). New York: Alfred A. Knopf. ISBN 978-0-375-41391-9. Holoman, D. Kern (1989). Berlioz. Cambridge, Massachusetts: Harvard University Press. ISBN 978-0-674-06778-3. Holoman, D. Kern (1989). Berlioz. Cambridge, Massachusetts: Harvard University Press. ISBN 978-0-674-06778-3. Jullien, Adolphe (1888). Hector Berlioz: Sa Vie et ses oeuvres (in French). Paris: Librairie de l'Art. Jowers, Sidney Jackson; Cavanagh, John (2000). Theatrical Costume, Masks, Make-up and Wigs: A Bibliography and Iconography. London: Routledge. ISBN 978-0-415-24774-0. Holoman, D. Kern (2004). The Société des Concerts du Conservatoire 1828–1967. Berkeley: University of California Press. ISBN 978-0-520-23664-6. Budden, Julian (1973). The Operas of Verdi, Volume 1: From Oberto to Rigoletto. New York: Oxford University Press. ISBN 978-0-304-93756-1. Sadie, Stanley; John Tyrell, eds. (2001). The New Grove Dictionary of Music and Musicians (2nd ed.). London: Macmillan. ISBN 978-1-56159-239-5. OCLC 419285866.
Jullien 1888, pp. 113–127; Jowers & Cavanagh 2000, p. 73. Jullien, Adolphe (1888). Hector Berlioz: Sa Vie et ses oeuvres (in French). Paris: Librairie de l'Art. Jowers, Sidney Jackson; Cavanagh, John (2000). Theatrical Costume, Masks, Make-up and Wigs: A Bibliography and Iconography. London: Routledge. ISBN 978-0-415-24774-0.

boulezian.blogspot.com

Mark Berry (2007-08-16). "Benvenuto Cellini at Salzburg Festival". Boulezian. Retrieved 2008-05-26.

cdconnection.com

CD – Benvenuto Cellini Archived July 8, 2011, at the Wayback Machine

doi.org

Kunde, Gregory; Linda Wojciechowski Kunde (2003). "Benvenuto Cellini in Zurich: A Rehearsal Diary". The Opera Quarterly. 19 (3): 417–426. doi:10.1093/oq/19.3.417.
Rees 2014, pp. 22–23. The opera's characterisation of the historical figure of Cellini is discussed in detail in Saloman, Ora Frishberg (2003). "Literary and Musical Aspects of the Hero's Romance in Berlioz's Benvenuto Cellini". The Opera Quarterly. 19 (3): 401–416. doi:10.1093/oq/19.3.401. (subscription required) Rees, Simon (2014). "Bellini and Belioz: Two Great Autobiographies". Programme: "Benvenuto Cellini". London: English National Opera. pp. 21–23.
La May, Thomasin K. (1979). "A New Look at the Weimar Versions of Berlioz's Benvenuto Cellini". The Musical Quarterly. LXV (4): 559–572. doi:10.1093/mq/lxv.4.559. (subscription required).
Pines, Roger (2003). "The Berlioz Operas on CD, Surveyed by Our Contributing Editors and Reviewers: Benvenuto Cellini". The Opera Quarterly. 19 (3): 427–431. doi:10.1093/oq/19.3.427.

guardian.co.uk

arts.guardian.co.uk

Andrew Clements (2003-08-19). "Benvenuto Cellini: Prom 39, Royal Albert Hall, London (2003)". The Guardian. Retrieved 2007-06-08.
Edward Greenfield (2004-12-10). "Berlioz: Benvenuto Cellini (original text), Kunde/ Ciofi/ di Donato/ Lapointe/ Nouri/ Radio France Choir/ Orchestra Nationale/ Nelson". The Guardian. Retrieved 2007-04-29.

hberlioz.com

Wasselin, Christian, "Benvenuto Cellini" on the Hector Berlioz website for a more detailed inside story of the opera

jstor.org

Goldberg, Louise (June 2000). "Review of Hector Berlioz, Benvenuto Cellini (New Edition, Bärenreiter) and vocal score based on urtext of the New Edition". Notes. 56 (4): 1032–1036. JSTOR 899879.

nytimes.com

query.nytimes.com

Donal Henahan (1983-05-10). "Berlioz's Cellini". The New York Times. Retrieved 2007-09-07.
Anthony Tommasini (2003-12-06). "Opera Review: Benvenuto Cellini at the Met". The New York Times. Retrieved 2008-05-10.
Anthony Tommasini (2003-12-06). "A Goldsmith's Tale, Told Larger Than Life". The New York Times. Retrieved 2007-09-07.

ucopera.co.uk

UCOpera Past Productions

web.archive.org

David P. Stearns (December 2003). "Benvenuto Cellini at the Met". Andante Magazine. Archived from the original on 2007-09-27. Retrieved 2008-05-26.
CD – Benvenuto Cellini Archived July 8, 2011, at the Wayback Machine

worldcat.org

A recording of this performance is available, OCLC 54404309.

search.worldcat.org

The conductor is mentioned by Berlioz in his memoirs (Berlioz 1969, pp. 235–236). The singers of Cellini, Teresa, Ascanio, Fieramosca, and Balducci are listed in Holoman 1989, p. 190. A poster for the premiere lists the last names of the entire cast without specifying roles (Holoman 1989, p. 191). Jullien 1888 shows costume illustrations for three additional roles: Serda as the Pope or Cardinal (p. 113), Wartel as Francesco (p. 127), and Prévôt as Bernardino (p. 120). Singers' full names and their spellings have been taken from the performers index in Jowers & Cavanagh 2000, pp. 466–502. The remaining two singers, Trévaux and Molinier have been assigned to the two remaining roles on the basis of voice type. H.-M. Trévaux was a tenor (Holoman 2004, pp. 44, 49), and Molinier sang the bass role of the herald in Verdi's Jérusalem (Budden 1973, p. 340). The conductor and major roles are listed the same by Casaglia 2005, but four of the minor roles are not, and these are assumed to be incorrect. In particular, the bass Louis-Émile Wartel, who is assigned to the role of Bernardino, was born March 31, 1834, and was only 4 years old at the time of the premiere ("Wartel" in Sadie 2001). Berlioz, Hector (1969). The Memoirs of Hector Berlioz. Translated by Cairns, David (2002 ed.). New York: Alfred A. Knopf. ISBN 978-0-375-41391-9. Holoman, D. Kern (1989). Berlioz. Cambridge, Massachusetts: Harvard University Press. ISBN 978-0-674-06778-3. Holoman, D. Kern (1989). Berlioz. Cambridge, Massachusetts: Harvard University Press. ISBN 978-0-674-06778-3. Jullien, Adolphe (1888). Hector Berlioz: Sa Vie et ses oeuvres (in French). Paris: Librairie de l'Art. Jowers, Sidney Jackson; Cavanagh, John (2000). Theatrical Costume, Masks, Make-up and Wigs: A Bibliography and Iconography. London: Routledge. ISBN 978-0-415-24774-0. Holoman, D. Kern (2004). The Société des Concerts du Conservatoire 1828–1967. Berkeley: University of California Press. ISBN 978-0-520-23664-6. Budden, Julian (1973). The Operas of Verdi, Volume 1: From Oberto to Rigoletto. New York: Oxford University Press. ISBN 978-0-304-93756-1. Sadie, Stanley; John Tyrell, eds. (2001). The New Grove Dictionary of Music and Musicians (2nd ed.). London: Macmillan. ISBN 978-1-56159-239-5. OCLC 419285866.