for
Berlioz' style, which, though melodious differs widely from that of the
easy flowing Italian school, being more serious as well as more
difficult for the musical novice to understand. This explains, why
Berlioz' compatriots esteemed, but never liked him; he was too
scientific. To-day our ears and understanding are better prepared for
striking intervals and complicated orchestration, which latter is the
most brilliant feature in the opera.

Indeed the instrumentation is simply perfect, the choruses are
master-pieces of originality, life and melody, and the rythm with its
syncopes, is so remarkable, that one is more than justified in calling
the style unique; it is Berlioz and no other.

The text is far less good than the music, though the hero, whose life
Goethe found worthy of description in the 24th and 25th volume of his
works, might well interest.--The libretto is by no means strictly
historical, and suffers from improbabilities, which can only be excused
in an opera.

The tale is laid in Rome in the year 1532 under Pope Clement VII, and
comprises the events of three days, Monday before Shrove-tide,
Shrove-Tuesday and Ash-Wednesday.--Benvenuto Cellini, the Tuscan
goldsmith has been called to Rome by the Pope, in order to embellish
the city with his {27} masterpieces. He loves Teresa, the daughter of
the old papal treasurer Balducci, and the love is mutual.--At the same
time another suitor, Fieramosca, the Pope's sculptor, is favored by her
father. Old Balducci grumbles in the first scene at the Pope's
predilection for Cellini, declaring that such an excellent sculptor as
Fieramosca ought to suffice. He goes for a walk and Cellini finds
Teresa alone. To save her from Fieramosca he plans an elopement,
selecting the close of the Carnival as the time best suited for
carrying out their design. The rendez-vous is to be the Piazza di
Colonna, where he will wait for her, disguised as a monk in white,
accompanied by a Capuchin, his pupil Ascanio.--Unhappily the rival
Fieramosca has entered unseen, and overheard all. The ensuing terzetto
is a masterpiece. While the lovers are bidding each-other farewell
Balducci returns; and Cellini has scarcely time to hide behind the
window-curtain before he enters. The father is surprised to find his
daughter still up and Teresa, seeking for an excuse to send him away,
feigns to be frightened by a thief in her chamber. There Balducci
finds the hapless Fieramosca hidden an