La damnation de Faust
ASO22 (1979), New Edition(#545), v.8.
- Reeve, Katherine. “The Damnation of Faust,or the Perils of Heroism in
Music.” In Berlioz Studies,ed. Peter Bloom, 148–188 (New York: Cambridge
U.P., 1992; ISBN 0-521-41286-2; ML410 .B6 B57).
Reeve finds a new image of Faust in the opera, a romantic hero who is vul-
nerable in a society “at odds with its standards of good and evil.” He is in-
tellectually barren, politically ineffectual, and sexually impotent”—unworthy
of Goethe’s hero. His heroism consists merely in “inner suffering.” At the
end, “men and women are all victims.” With 66 footnotes to the supporting
literature. - Albright, Daniel. “Berlioz’s Faust: The Funeral March of a Marionette.” Jour-
nal of Musicological Research13 (1993): 79–97.
This Faust is nihilistic, vehement but empty. He “struggles in vain to join in the
symphonic texture of the music... he is exiled to a private plane of musical
discourse.” Goethe’s vision of Faust is better depicted by Gounod.
Les troyens
ASO128/129 (1990); COH (1988), New Edition(#545), v.2.
- Macdonald, Hugh. “A Critical Edition of Berlioz’s Les troyens.” Ph.D. diss.,
U. of Cambridge, 1968. 4v.
The author is directing the issue of the New Edition(#545). - Goldberg, Louise. “Les troyensof Hector Berlioz: A Century of Productions
and Critical Reviews.” Ph.D. diss., U. of Rochester, 1974. 2v. - Goldberg, Louise. “Aspects of Dramatic and Musical Unity in Berlioz’s Les
troyens.” Journal of Musicological Research13 (1993): 99–112.
Explicates a tripartite structure, in which each section builds to a climax and
events (musical and textual) are parallel to those in the other sections. The
opera should not be thought of as “episodic” or without unity. - Cairns, David. “Berlioz and Virgil: A Consideration of Les troyensas a Vir-
gilian Opera.” PRMA 95 (1968–1969): 97–110. Reprinted in GL,v.12, and in
Responses: Musical Essays and Reviews,by David Cairns, 88–110 (London:
Secker & Warburg, 1973).
Shows relationships between the opera and the Aeneid. Berlioz expanded
many situations that were only implied by Virgil, and he reordered events. - Lee, M. Owen. “The Exasperated Eagle and the Stoic Saint.” OQ2-4 (1984–
1985): 76–84.
Considers the relationship of the story to Virgil’s Aeneid,finding a number of
allusions in the opera to scenes and symbols of the poem. Suggests that the
connections are more intricate than has been noted previously.
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