Movements/SectionsMov'ts/Sec's | 2 or 3 acts |
---|---|
Composition Year | 1836–38 |
Genre Categories | Opera semiseria; Theatrical Works; Operas; |
Contents |
Complete Score
*#515586 - 22.45MB, 523 pp. - -) (- V/V/V - 7×⇩ - Music Addict
PDF scanned by Unknown
Music Addict (2018/3/15)
⇒ 4 more: Overture • Act I • Act II • Act III
|
Complete Score
*#114501 - 8.94MB, 68 (v, 63) pp. - -) (- V/V/V - 1434×⇩ - Massenetique
PDF scanned by RUS-Mrg
Massenetique (2011/8/22)
|
Complete Score
*#402073 - 3.09MB, 44 pp. - -) (- V/V/V - 36×⇩ - Dandeutsch
PDF scanned by Unknown
Dandeutsch (2015/12/7)
|
Complete Score
*#26321 - 1.26MB, 41 pp. - -) (- !N/!N/!N - 1254×⇩ - Philip Legge
PDF typeset by Editor
Philip Legge (2009/1/6)
|
Work Title | Benvenuto Cellini, opéra semi-seria |
---|---|
Alternative. Title | |
Name Translations | Benvenuto Cellini; ベンヴェヌート・チェッリーニ; Бенвенуто Челлини; Բենվենուտո Չելլինի |
Authorities | WorldCat; Wikipedia; VIAF: 179830238; LCCN: n81093106; GND: 300204744; BNF: 13908474q |
Composer | Berlioz, Hector |
Opus/Catalogue NumberOp./Cat. No. | H 76 |
I-Catalogue NumberI-Cat. No. | IHB 7 |
Movements/SectionsMov'ts/Sec's | 2 acts in 4 tableaux (Paris 1 and 2), 3 acts (Weimar) Setting: Rome, during Carnival of 1532, over Shrove Monday, Mardi Gras, and Ash Wednesday. Weimar version
|
Year/Date of CompositionY/D of Comp. | 1836–38 |
First Performance. | 1838-09-10 in Paris, Opéra
|
First Publication. | 1838 (overture and selections) 1856 (vocal score) 1886 (full score, incomplete) 1994/96 (full score, complete) |
Librettist | Auguste Barbier (1805–82) and Léon de Wailly (1804–63),
|
Language | French |
Dedication | Mr. Ernest Legouvé (Grande ouverture Op.23) |
Composer Time PeriodComp. Period | Romantic |
Piece Style | Romantic |
Instrumentation | voices (13 roles, 9 singing), chorus, orchestra |
External Links | Wikipedia article On-line score (Scorch format) of the Overture Libretti |
Extra Information | Publication History |
The original version of the overture for Paris is scored somewhat more elaborately, and was simplified for the première; this revision is the same as was later published as the concert overture. Other changes were made prior to the first performance, such as Berlioz having to replace all of the original spoken dialogue with recitatives; the censors also objected to the portrayal of Pope Clement as a historical personnage, requiring the invention of the rôle of the cardinal.