Opera reviews: Beatrice et Benedict and The Barber Of Seville | Theatre | Entertainment | Daily Express Opera reviews: Beatrice et Benedict and The Barber Of Seville 4 / 5 stars Beatrice et Benedict HECTOR Berlioz was inspired by Shakespeare from the moment he saw an English company’s production of Romeo And Juliet in Paris in 1827 and his final opera, Beatrice Et Benedict, written in 1862, was based on Shakespeare’s Much Ado About Nothing. PUBLISHED: 00:01, Sun, Jul 31, 2016 PH Beatrice et Benedict is rarely performed, but it is ideal for Glyndebourne At just under two hours without an interval, it is rarely performed, but it is ideal for Glyndebourne as a before and after dinner entertainment. Berlioz gutted Shakespeare’s play when he wrote the libretto, throwing out the drama of Don John’s plot to disgrace the young bride Hero on her wedding day. Instead we have Hero and her Claudio (Philippe Sly) simply acclaiming the joys of love, while at the same time edging the reluctant Beatrice and Benedict towards matrimony.

PH Director Laurent Pelly sees the opera as an elegant treatise on love Director Laurent Pelly sees the opera as an elegant treatise on love and music designed in shades of grey with 1950s era costumes. Designer Barbara de Limburg’s set of pop up boxes from which the flag waving citizens of Messina hail the returning conqueror of Africa, Don Pedro (Frederic Caton), are amusing, though the plethora of boxes are intended to illustrate Pelly’s contrived thesis about Beatrice and Benedict as rebels “who refuse to fit into a mould and live in a box”. Star of the show is mezzo-soprano Stephanie d’Oustrac whose edgy Beatrice exists in a state of constant irritation with confirmed bachelor Benedict, American tenor Paul Appleby while the London Philharmonic Orchestra under conductor Antonello Manacorda gives a spirited account of this gem. PH Rossini would have loved the anarchic vigour of Glyndebourne’s The Barber Of Seville Rossini would have loved the anarchic vigour of Glyndebourne’s The Barber Of Seville at its one night Proms appearance in the Albert Hall.

Athletic young baritone Bjorn Burger’s energised Figaro leapt up the steps to give the revered sculpted head of Sir Henry Wood a quick shave while singing the Largo Al Factotum. PH Athletic young baritone Bjorn Burger’s energised Figaro Danielle de Niese, in cracking form as a provocative Rosina, trounced her bullying guardian Dr Bartolo, played by that master of comic buffoonery, Alessandro Corbelli. Tenor Taylor Stanton looked and sounded good as Count Almaviva, and Janis Kelly made the most of housekeeper Berta while baritone Huw Montague Rendall made a promising Proms debut as Fiorello.

VERDICT: 4/5 Berlioz’s Beatrice et Benedict at the Glyndebourne Festival Opera Nr Lewes, East Sussex (Tickets: 01273 815000/ glyndebourne.com ; £80-£230) Rossini’s The Barber Of Seville BBC Prom 14 Royal Albert Hall, London SW7 (Tickets: 0845 401 5040/ bbc.co.uk/proms ) Related articles Hector Berlioz - Béatrice & Bénédict (1862) - "Nuit paisible" (Sylvia McNair & Catherine Robbin) - YouTube Hector Berlioz - Béatrice & Bénédict (1862) - "Nuit paisible" (Sylvia McNair & Catherine Robbin) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Uploaded on Jun 1, 2009 "A caprice written with the point of a needle" - Berlioz on "Beatrice et Benedict". The comic opera "Beatrice et Benedict", based on a simplified version of the plot of Shakespeare's "Much ado about nothing" and composed between 1860 and 1862, was Berlioz's last major work and, though warmly received at the premiere at Baden-Baden, it never gained a place in the standard repertory. The plot, as it is usually with Shakespeare, is clearly drawn: Beatrice (mezzo-soprano, niece of the governor of Messina, Leonato) scorns the soldier Benedict (tenor) who returns her favors. Under the direction of Benedict's brothers-in-arms, Don Pedro (bass) and Claudio (baritone), the whole cast begins to float a rumor that the pair are actually madly in love with each other which leads both to question the nature of their dislike for each other.

The plot culminates during Claudio's (baritone) and Hero's (soprano, daughter of Leonato) wedding where a second blank contract is produced and promptly and willingly signed by both the title heroes to the joy of all assembled. It would be all too difficult to describe my joy as I finally began listening to the opera which I have been eagerly awaiting to hear for quite some time. In some ways, the experience was well worth the long wait. Overall, I enjoyed it much more than, for example, "Cellini": refusing the brutality and extremes of the latter, "Beatrice" adopts a more elegant musical idiom, somewhat similar, in my opinion, to the wit of Rossini and the grace of Paisiello and Mozart, and, in fact, a more conservative musical language, thus, most numbers feature the familiar andante-allegro structure further aided by the inner energy of Berlioz's music. There is little altogether lacking in musical inspiration: even the pointless addition by Berlioz of the character of the music master, Somarone (bass), gives way to some of the most enchanting babble.

One can note several obvious examples of Berlioz's generous music making, such as the suitably fresh entrance duet for the title heroes. If there is a problem with the work, it has to be the treatment of the main conflict itself: the plot to bring together the "lovers" of the title is thinly developed, thus, the final denouement is somewhat unsatisfying, as we have not been able to see the growth of felling between the ill-fated enemies (come to think of it, neither is Shakespeare's variant better). An additional hour of confusion for the heroes would have helped to make their final marriage more believable. Moreover, such a situation leads to a felling of constant omissions: for example, there is no logical duet between the lovers, as they confront each other and their feelings for each other near the end of the work.

This underrepresentation does not, though, detract from the extreme charm of the piece and its great musical richness, quite the contrary: the overall effect is that of a work left unfinished by its creator but still offering much joy and thrill, almost demanding the question "How it could have been, if the composer were to continue?" The recording is an excellent one, featuring some truly outstanding female singing: John Nelson - Conductor, Don Pedro - Vincent Le Texier. Hope you'll enjoy :). P.S. I'm going to post some additional music tomorrow :). Category Béatrice et Bénédict: Synopsis mezzo-soprano Townspeople, soldiers Synopsis by D. Kern Holoman, following the version published in the New Grove Dictionary of Opera. The celebrated overture, though not a potpourri in the usual sense, characterizes the substance of the opera by alluding to quite a number of passages to follow. Sicily: the town of Messina. The first act takes place in the garden of Leonato, the governor. The townspeople rejoice that the invading Moors have fled from Don Pedro and his force. Soon the victors will be home, and Hero will be reunited with her intended, Claudio.

Less pleased is Beatrice, her cousin, to contemplate the return of Benedick, with whom she has long enjoyed "a kind of merry war." Those so far assembled dance a sicilienne based on Berlioz's flrst published song, Le Dépit de la bergère (c. 1819)--an acknowledgment, perhaps, that he expected Béatrice et Bénédict to be his last work. Hero's aria is one of ecstasy at the thought of seeing Claudio again. Don Pedro and his retinue arrive; at once Beatrice and Benedick, in their duet, begin to taunt each other. The wedding of Hero and Claudio will take place that evening--an example, it is noted, that should tempt Benedick. In his trio with Claudio and Don Pedro, Benedick insists he would much prefer the cloistered life to marriage: if ever he consents to that yoke, they can put a sign on his roof, "Here you see Benedick, the married man." Following his exit, his companions determine to trick Beatrice and Benedick into acknowledging their love.

Somarone, the maestro di cappella, whose gifts of composition are questionable, arrives with his choristers and oboists to rehearse the nuptial song, an absurd double fugue; a reprise with comic oboe ornamentation is offered before Don Pedro. Benedick, hidden behind a hedge, overhears an arranged conversation to the effect that Beatrice is indeed in love with him; suddenly he begins to consider some of the advantages of marriage. Hero and Ursula, having arranged a similar ruse as regards Beatrice, come to the garden to escape the festive commotion within. During their famous Duo-Nocturne, "Nuit paisible et sereine!," Hero's access of melancholy is calmed by the play of moonlight and shadows, the breeze's caress, the murmur of nightingale and crickets, the aroma of spring blossoms. The effect is much the same as in "Nuit d'ivresse" from Les Troyens. The entr'acte is a reprise of the sicilienne. Act 2 takes place in a great hall in the governor's palace, with the wedding banquet in an adjoining room offstage.

The guests, drinking heavily, prevail on Somarone to improvise a song on the merits of the local wines, accompanied by a rustic band and the pounding of wine-glasses on the tables; with effort, on stage, he finishes a second verse. Beatrice, in her aria, acknowledges that she, too, has fallen victim to love. Hero and Ursula, recognizing the change, join her in a trio of promised joys and happiness; Beatrice is lost in thought as an offstage chorus summons the bride. In a chance encounter Beatrice and Benedick, each safe in the knowledge that the other has been uncontrollably smitten, continue mercilessly to bait each other. The bridal procession enters. After the bride and groom have signed their contract, the scribe produces a second, asking who else wishes to be married. Beatrice and Benedick take each other out of pity, and banners bearing the words "Ici on voit Bénédict, 1'homme marié" are duly proffered. A truce has been signed; the warring will recur on the morrow.

Béatrice et Bértédict represented for Berlioz a lighthearted turn away from the rigors of Les Troyens. Whereas the Virgilian tragedy summarizes the epic tendencies of his imagination, Béatrice et Bénédict affirms both his mordant wit and his overall good humor. He was pleased to return to Italian subject matter and to music of triple meters, street dances, tambourines and guitars. Somarone is Berlioz's invention; his line "The piece which you are about to have the honor to perform is a masterpiece! Let us begin!" is said to have been uttered by Spontini at a rehearsal of Olympie in Berlin. Elsewhere the text often follows Shakespeare closely. John Frayne: 'Beatrice and Benedict' was delightful | News-Gazette.com John Frayne: 'Beatrice and Benedict' was delightful Sun, 11/15/2015 - 7:00am | John Frayne Lyric Theatre @ Illinois is going Shakespeare this season, and its first opera based on the bard's works was Hector Berlioz's seldom-performed "Beatrice and Benedict" (1862).

This last operatic work by Berlioz, based on the play "Much Ado about Nothing," is centered on the love/hate relationship of Beatrice and Benedict and relegates the love affair of Hero and Claudio to the background. This delightful local production updates the action of the play from Renaissance Messina in Sicily to 1806 New Orleans. The stage setting by Regina Garcia, with open balconies, was a triumph of light and grace. The costumes, designed by Pingwei LI, tastefully matched the scenic design. The stage action, highlighting the comic interaction of Beatrice and Benedict, was adroitly directed by Michael John Foster. The most familiar part of this opera is its sparkling overture, and this was commendably played by the student orchestra, vigorously conducted by Claire Levacher. The contribution of the pit orchestra was admirable throughout the evening. Some characters were double cast, and the singing and acting of the cast I heard on opening night, Nov. 5, was first rate. Emily Alcorn as Beatrice and Aaron Godwin as Benedict were outstanding as the couple whose aversion to each other was perhaps more credible than their late succumbing to the power of love.

Eleanora Benedict as Hero and David Catalano as Claudio were attractive as the couple for whom, at least in this version, the course of love ran smooth. This work has some delightful vocal gems, worthy to be better known. Act 1 ends with an enchanting duet evoking the beauties of the night, and it was beautifully sung by Benedict as Hero and Jennifer Wiggins as her handmaiden, Ursula. Alcorn was later outstanding in Beatrice's tour de force aria "Dieu, que viens-je d'entendre," and all three young ladies named above joined in a superb trio about matrimonial joys and possible sorrows ("Je vais d'un coeur aimant"). Berlioz created the character of a witless musician, Somarone (Great Donkey), who, in the opera, composes, and tries to conduct, a grotesque wedding song. This role was energetically sung and acted by Xiaoyi Zha. The role of the ruler, Don Pedro, was played with dignity and wit by Joseph Trumbo. The chorus, well prepared by Michael Bagby, played an important role in this production, both in stage movement and singing.

Altogether, the sung French text was efficiently projected by the supertitles operated by Dennis Helmrich. The spoken English text was adapted from Berlioz's French version by Geoffrey Dunn. This adaptation worked well, but I wish I had understood more of it. Whether it was the delivery by some of the singing actors or the acoustics of the Tryon Festival Theatre, the English text in part came through garbled. All in all, the staff of Lyric Theatre @ Illinois are to be thanked for bringing this delightful Berlioz work to the Tryon stage, and I look forward to the production of Benjamin Britten's opera on "A Midsummer Night's Dream" and Cole Porter's musical "Kiss Me, Kate" in the spring semester. Wonderful duo On Nov. 1, I went to hear what turned out to be an innovative recital of less often performed works played by French clarinetist Raphaël Sévère, who is the winner of the Young Concert Artists Award. Sévère performed on the Foellinger Great Hall stage, assisted by pianist Paul Montag.

The concert opened with Sévère's own transcription for clarinet of Alexander Borodin's 1860 Cello Sonata in B Minor. In this attractive piece, Sévère showed admirable mastery of his instrument, with great delicacy of phrasing in the long winding melodies, and pianist Montag supplied frequent outbursts of brilliant playing at the piano. Borodin's gift of creating melodies filled with longing, as in his opera "Prince Igor," was evident in the "pastorale" movement. In sharp contrast was Withold Lutoslawski's 1995 "Dance Preludes." Here, Sévère's agility came to the fore, in a sequence of contrasting dance movements.

The sensuous, haunting beauty of Sévère's tone was paramount in Claude Debussy's 1910 "First Rhapsody for Clarinet." The long-breathed melody of this piece reminded me of Debussy's famous "Prelude to the Afternoon of a Faun." Sévère then created a bit of a shock with his transition from Debussy to Alban Berg's 1913 "Four Pieces for Clarinet and Piano." With segments of brevity matching Anton Webern, Berg's pieces gave Sévère the opportunity to create strange and somewhat comic sounds. An early work of Leonard Bernstein, his 1942 "Sonata for Clarinet and Piano," gave Sévère and Montag the chance to close this challenging and enjoyable recital with Bernstein's jazzy, laid-back, happy music. When Sévère and Montag returned to the stage, the audience on the stage stood in appreciation. John Frayne hosts "Classics of the Phonograph" on Saturdays at WILL-FM and, in retirement, teaches at the UI. Reach him at frayne@illinois.edu.

CIM Opera Theater's Béatrice et Bénédict | WCLV 104.9 ideastream CIM Opera Theater's Béatrice et Bénédict David Bamberger at WCLV CIM Opera to stage Hector Berlioz’s Béatrice et Bénédict February 24-27. Story by Mike Telin & Daniel Hathaway (You can also listen to Jacqueline Gerber's interview with Director David Bamberger here .) Directed by David Bamberger, CIM Opera Theater will present four performances of Hector Berlioz’s comic opera Béatrice et Bénédict in Kulas Hall at the Cleveland Institute of Music beginning on Wednesday, February 24 at 7:30 pm and continuing through Saturday, February 27. An adaptation of William Shakespeare’s comedy Much Ado About Nothing, Berlioz conceived the piece as early as 1833, but completed it only in 1862 at the behest of a casino owner in Baden-Baden, Germany, where it was first performed at the Theater der Stadt in August of that year.

“It’s not performed that often, and most people only know it from the overture, which is such a great piece in itself,” conductor Harry Davidson said in a telephone conversation. “For the opera, Berlioz took out all the tragic elements that appear in the play — Héro being accused of adultery and her father disowning her — none of that is there. But it’s very stageworthy and the music is really quite delightful and charming.” Davidson refers to the piece as an orchestral-driven opera. “Because Berlioz wasn’t a keyboard virtuoso like most of his contemporaries, you can’t predict how he’s going to approach things. If you think of Symphonie fantastique and how very modern this piece sounds, you see some of that in the opera as well. There’s a modernity about it in the way, for instance, that he writes for the double basses separately from the cellos, and writes for trumpets with additional cornets.

This piece is from 1862, and Symphonie fantastique was 1830, but this still has that little touch of modernity that you don’t find in composers of that period.” Davidson said that Berlioz writes well for the voice, even though there are tinges of an orchestral approach there as well. But it’s an excellent piece for the students because the quality of the music is so good. The singers have hurdles to overcome, but they’re not impossible. “The hardest roles, of course, are Beatrice and Benedict — their arias have certain challenges for singers of this age, but they’re fine pieces and gratifying to sing. The students are certainly rising to the occasion very well.” The chorus plays a prominent role in the opera as well. The show opens with a chorus, and later features a hilarious wedding song. “Berlioz invented the character of Somarone — the name means ‘donkey-like,’ Davidson said. “The chorus master is trying to get his chorus ready to sing at the wedding. First, they sing his piece like a dirge. He throws up his arms and says, ‘This is my music — you have to sing it with beauty,’ then he makes them repeat it.

I’m trying to do the two versions quite differently, the first one very stiff and square. I said to the chorus the other day, ‘Everything I told you to do to make this musical: forget about it!’ All of this has nothing to do with Shakespeare, but it adds a new comic element.” We spoke to Halla Kalmansson and Kevin Adamik, who will sing the roles of Héro and Bénédict in the Wednesday-Friday cast. Kalmansson, a senior, is a native of the Boston area and Adamik, a native of Pittsburgh, is in his second year of professional studies. We asked them what they knew about the Shakespeare play before taking up their roles in the Berlioz. Halla Kalmansson: I am familiar with Much Ado About Nothing, and I was very excited to learn that we were doing the opera. But when I first read through it, I was surprised by how much Berlioz took out. In the play, Beatrice and Benedict are supposed to be the main characters, and the opera focuses even more on them than on Hero and Claudio.

Kevin Adamik: I did watch parts of Much Ado just to see what it was like, and I too was surprised by how much the opera focuses on Beatrice and Benedict compared to the play. The opera is pretty much all about trying to get the two of them together. Mike Telin: Who are the characters in this production? KA: The production is set in the 1960s on a U.S. college campus. Benedict is a star football player and the team is celebrating a big victory. Benedict begins to think that he might be in love with Beatrice, and begins to consider the advantages to being married even though he would rather be in a monastery than be married to any woman. Playing him as a football player is a little different than what I was thinking about the character at first. Usually in stories the football player gets with the cheerleader, but in this production Beatrice is a hippie. MT: Did you ever play football? KA: No, not at all, but I grew up in Pittsburgh, so I am a big Steelers fan and I’ve watched football my whole life. HK: Hero is a very bubbly character. She’s happy throughout the entire opera.

I think she’s completely selfless in her attempt to bring Beatrice and Benedict together, despite the fact that she herself is getting married to Claudio. So it is a very exciting time in her life and she wants everyone to be as happy as she is. MT: Is the production set at any particular college? KA: It’s Messina University USA, named after the town in Italy in which the opera is set. But everything is based on David Bamberger’s undergraduate school. MT: I understand that you’ll be singing in French but the spoken dialogue is in English. Have you sung many roles in French? HK: This is my first anything in French. I’ve sung one piece before, so it has been a challenging process. I took it step by step: notes and rhythms first, then memorizing the meaning of the words so you can translate that into the music while you are singing — that way it’s more than just syllables that mean nothing to you. But it is a long process no matter what the language is. KA: It’s sort of new to me to sing an entire major role in French. At first I just focused on learning the notes and vowels. After the holiday break I began to focus on the French.

Not being strong in the language, I had to write down every word and its English definition so I would know what I was saying. MT: What if any musical challenges did you encounter while learning the roles? HK: One challenge is my first aria. Hero’s talking about how excited and happy she is, but the music is very slow and somber. So it was a challenge to bring out that happiness. I was attracted to the part of Hero right away. It’s in a lower register than I usually sing but it is comfortable in my voice. I am enjoying singing it, and not having any range challenges has made it easier for me to learn the music quickly. KA: At first, the role felt bigger than what I was used to singing. The past two roles I’ve done were comedic roles, so the singing wasn’t tiring. The music is great, though at first I was worried that it wasn’t my voice type. But I just went into it gently and started learning it. The role fits my voice now and it doesn’t tire me, but it was frightening at first. Benedict has a duet, a trio, and an aria back to back to back.

Published on ClevelandClassical.com February 22, 2016. Berlioz's Opera “Béatrice et Bénédict” at the Capitole Berlioz's Opera “Béatrice et Bénédict” at the Capitole Published on 06-13-2016 Agenda Treat yourself to Berlioz's light and joyful opéra comique, inspired by Shakespeare and performed at the very heart of the “pink city”. Béatrice et Bénédict was composed by Berlioz at the end of his life. Based on Shakespeare's Much Ado About Nothing, it is eloquent, humorous, tender and poetic. The composer retained only the play's secondary characters to sign, in his own words, “a caprice, written with the tip of a needle,” in which “Béatrice and Bénédict, who absolutely hate each other, must fall in love”. It is with the eyes of love that we shall forever remember Béatrice, renouncing the immaculate world of her youth in this opéra comique of irresistible charm.

Tito Ceccherini, music director, Richard Brunel, opera director, and Catherine Ailloud-Nicolas, dramaturge, give a new turn to this production. The main characters are played by Julie Boulianne as Béatrice, and Joel Prieto as Bénédict. Béatrice et Bénédict Berlioz Meets Bard In 'Beatrice And Benedict' : NPR Berlioz Meets Bard In 'Beatrice And Benedict' Berlioz Meets Bard In 'Beatrice And Benedict' From the Champs-Elysees Theatre Embed Embed June 19, 200912:00 AM ET THE HIT SINGLE Act One ends with "Serene and Peaceful Night," a gentle duet for Hero and Ursula (sopranos Nathalie Manfrino and Elodie Mechain). While strolling in the moonlight, they reflect on the delights nighttime brings to the souls of lovers.

"Serene and Peaceful Night" Embed Embed <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> The B Side At the end of an extended, Act Two solo scene, Beatrice (mezzo-soprano Joyce DiDonato) wonders about her feelings for Benedict. In a virtuosic coda, she asks herself "Do I Love Him?" — and ecstatically concludes that she does. "Do I Love Him?" Embed Embed <iframe src="" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"> It's hardly a surprise that some of the greatest operas of all time are based on plays by Shakespeare. What is surprising is that there are so few of those operas. Hector Berlioz composed his operatic version of Shakespeare's Much Ado About Nothing early in the 1860s. Getty Images/Hulton Archive hide caption toggle caption Getty Images/Hulton Archive Actually, composers have cranked out hundreds of Shakespeare operas, but only a few of them truly cut the mustard.

That is, barely a handful of those operas are widely considered worthy of Shakespeare's legacy, and of a regular place in the opera house. Most opera fans would count three of Giuseppe Verdi 's operas among them: Macbeth , Otello and Falstaff . Others might include Charles Gounod 's Romeo and Juliet, or Benjamin Britten 's A Midsummer Night's Dream. And that's pretty close to the end of the list. Still, there may just be a Shakespeare-based, operatic dark horse that deserves more consideration than it gets. It's an appealing and insightful comedy, called Beatrice and Benedict, that combines the signature brilliance and bombast of composer Hector Berlioz with the sly, comedic insights of Shakespeare's Much Ado About Nothing. Yet somehow, the work scarcely registers on many people's operatic radar — maybe because Berlioz is known more for his brilliant orchestral works than for his operas. So it's ironic that it was the composer's instrumental music that gave him the opportunity to write the opera in the first place.

Berlioz was 23, in the early 1830's, when he saw a series of Shakespeare's plays performed by an English theater company in Paris. He was overwhelmed by the experience, and began thinking about a musical setting of Much Ado About Nothing. But nothing came of the idea for nearly 30 years. Then, in the 1850s, Berlioz began presenting summertime concerts in the German spa town of Baden-Baden. The composer was hired by a casino owner to entertain his patrons, and the concerts were a great success. A few years later, the casino owner decided to commission a full-scale opera from Berlioz. The result was Beatrice and Benedict, which was premiered at a Baden-Baden theater in 1862. Article continues after sponsorship On this week's World of Opera, host Lisa Simeone presents Beatrice and Benedict from the Champs-Elysees Theatre in Paris. The stars are mezzo-soprano Joyce DiDonato and tenor Charles Workman in the title roles, and the performance is led by one of the world's foremost interpreters of Berlioz's music, Sir Colin Davis.

See the previous edition of World of Opera or the full archive The Story of 'Beatrice and Benedict' June 18, 20094:52 PM ET WHO'S WHO? National Orchestra of France Radio France Chorus Sir Colin Davis, conductor American mezzo-soprano Joyce DiDonato stars as Beatrice in the Champs-Elysees Theatre's production of Beatrice and Benedict. Sheila Rock/Virgin Classics hide caption toggle caption Sheila Rock/Virgin Classics Hector Berlioz wrote the libretto for Beatrice and Benedict himself, following Shakespeare's original Much Ado About Nothing fairly closely — or at least parts of the original. For the opera, Berlioz slimmed the story down, eliminating subplots and concentrating on the relationship between the title characters. The setting is the Sicilian town of Messina. As ACT ONE begins, the citizens have gathered in a park to welcome Don Pedro of Aragon. He's returning after a successful battle campaign. A man named Leonato enters with his daughter, Hero, and his niece, Beatrice. Hero is ecstatic, because Claudio, her lover, is expected to arrive soon with the victorious army, and the two hope to be married.

Left alone, Hero reflects joyfully on her future happiness. When Don Pedro arrives, along with Claudio, the engagement is made official. Meanwhile, another couple is having a very different sort of reunion. Beatrice and Benedict always seem to be at each others throats, trading jibes and insults. But aside, each confesses to taking a curious pleasure at baiting the other. Don Pedro congratulates Claudio on his betrothal, telling him how lucky he is. Then the two men turn to Benedict. Surely, they say, Claudio's happiness must tempt Benedict to find a wife as well. Benedict scoffs, declaring that he's not the marrying type. He says he has nothing against women, but he could never trust one. As far as he's concerned, women are as "gentle as a thistle." If he ever does fall for a woman, he tells his friends, they're free to hang a big sign on his house, saying "Here you'll find Benedict, the married man." Don Pedro and Claudio think that Benedict is all bluster, and decide to trick him into falling in love with Beatrice — which they suspect may already be happening.

They allow Benedict to overhear them talking about Beatrice, and how she's fallen head over heels for Benedict. Suddenly, Benedict changes his tune. Alone, he's admits to being thrilled that Beatrice is in love with him, and wants to be with her — but he's reluctant to believe it might actually happen. In the act's final scene, Hero is alone with her companion, Ursula. We learn that Beatrice has been the victim of the same trick that was played on Benedict — an "accidentally" overheard conversation about how much Benedict loves her. As the act ends, Hero and Ursula sing a gentle duet about the beauty of the evening, and the joys nighttime can bring to the souls of lovers. ACT TWO begins with a traditional dance, a Sicilienne, and a drinking song. Alone, Beatrice admits that, just maybe, she really is falling for Benedict. But she's not happy about it. If it's true, she says, she'll have to say goodbye to her mirth, and to her liberty. Hero and Ursula get together and rhapsodize about the ecstatic love between Hero and Claudio.

Beatrice joins them, agreeing that the two will surely have a joyful and passionate marriage. The other two women feign amazement at Beatrice's new attitude toward romance; she seems to be softening. Beatrice denies this, still maintaining that she could never love any man, especially Benedict. Love, she says, can only end in betrayal and heartbreak. At first, Hero seems to agree — but only as a joke. The three women go back to praising Hero's future happiness with Claudio, and their trio ends gently. A distant chorus is heard, summoning Hero to her wedding. Beatrice listens for a moment and makes to leave — but she runs into Benedict. Their nervous encounter is cut short when the wedding procession arrives. Hero and Claudio sign their wedding contract. Then the notary produces a second contract, asking if anyone else is ready to marry. Everyone looks pointedly at Beatrice and Benedict. On cue, four men enter, carrying a huge placard. It carries the fateful message: "Here you'll find Benedict, the married man." Benedict's friends read the message aloud. Benedict repeats it and then says, "Married ...

and content." The opera ends with a duet, as Beatrice and Benedict admit their true feelings. OK, they concede, they really are in love, at least for today. Perhaps they'll be enemies again ... but not until tomorrow. Learn and talk about Béatrice et Bénédict, 1862 operas, French-language operas, Operas, Operas based on works by William Shakespeare Béatrice et Bénédict (Beatrice and Benedick) is an opéra comique in two acts by Hector Berlioz . [1] Berlioz wrote the French libretto himself, based closely on Shakespeare 's Much Ado About Nothing . Berlioz had been interested in setting Shakespeare's comedy since his return from Italy in 1833, but only composed the score of Béatrice et Bénédict following the completion of Les Troyens in 1858. It was first performed at the Theater der Stadt, Baden-Baden on 9 August 1862.

[2] Berlioz conducted the first two performances of a German version in Weimar in 1863, where, as he wrote in his memoirs, he was "overwhelmed by all sorts of kind attention." It is the first notable version of Shakespeare's play in operatic form, and was followed by works by among others Árpád Doppler, Paul Puget and Reynaldo Hahn . [3] Berlioz biographer David Cairns has written: "Listening to the score's exuberant gaiety, only momentarily touched by sadness, one would never guess that its composer was in pain when he wrote it and impatient for death". [4] Contents Performance history[ edit ] First edition vocal score title page, with illustration by A. Barbizet. Berlioz described the premiere of Béatrice et Bénédict as a "great success" in a letter to his son Louis; he was particularly taken with the performance of Charton-Demeur (who would create the role of Didon in Paris a year later) and noted that the duo which closes the first half elicited an 'astonishing impact'.

[5] Although it continued to be staged occasionally in German cities in the years after the premiere, the first performance in France only took place on 5 June 1890 at the Théâtre de l’Odéon , promoted by the Société des Grandes auditions musicales de France, conducted by Charles Lamoureux , and with Juliette Bilbaut-Vauchelet and Émile Engel in the lead roles. [6] Paul Bastide conducted a notable production of Béatrice et Bénédict in Strasbourg in the late 1940s. [7] It was produced at the Paris Opéra-Comique in 1966 conducted by Pierre Dervaux but with recitatives by Tony Aubin , [8] and in February 2010 under Emmanuel Krivine . [9] The UK premiere was on 24 March 1936 in Glasgow under Erik Chisholm . [10] English National Opera opened a production on 25 January 1990, with wife and husband Ann Murray and Philip Langridge in the title roles.

[11] Although rather infrequently performed and not part of the standard operatic repertoire, recent productions have included Amsterdam and Welsh National Opera tour in 2001, Prague State Opera (Státní opera Praha) in 2003, Santa Fe Opera in 2004, Strasbourg in 2005, Lyric Opera of Chicago in 2007, Houston Grand Opera in 2008 (in English), Opera Boston in 2011, Theater an der Wien in 2013, and Glyndebourne in 2016. The first Swedish production of the opera was at Läckö Castle in 2015. Music[ edit ] The overture (sometimes played and recorded separately) alludes to several parts of the score without becoming a pot-pourri . [2] The opera opens with a rejoicing chorus and Sicilienne . Héro has a two-part air where she looks expectantly to the return of her love, Claudio. [12] The sparring between Béatrice and Bénédict begins in the next musical number, a duo.

An allegretto trio of "conspiratorial humour" for Don Pedro, Claudio and Bénédict, [4] consists of the latter expounding his views on marriage to which the others pass comment. After Somarone has rehearsed his Epithalame grotesque (a choral fugue about love), Bénédict's fast rondo reveals that he has fallen for the plot and will try to be in love. The act ends with a nocturne for Héro and Ursule – a slow duo in 6/8 which W J Turner described as "a marvel of indescribable lyrical beauty" [12] and which Grove compares to "Nuit d'ivresse" in Les Troyens. [2] The second act opens with a drinking song for Somarone and chorus with guitar and tambourine prominent. [2] Next, in an extended air across a wide melodic span, Béatrice acknowledges that she too is powerless against love and in the following trio (added after the premiere) Héro and Ursule join her to extol the joys of marriage.

There is a marche nuptiale and the work ends with a brilliant duet marked scherzo-duettino for the title characters whose "sparkle and gaiety" end the comedy perfectly. [12] Act 1[ edit ] Don Pedro, prince of Aragon , is visiting Messina after a successful military victory over the Moors , which is celebrated by all of Sicily. He is joined by two friends and fellow soldiers, Claudio and Bénédict. They are greeted by Léonato, governor of Messina, together with his daughter, Héro, and niece, Béatrice. Héro awaits the return of her fiancé, Claudio, unwounded and rewarded for his valour. Béatrice inquires about and scorns Bénédict. They trade insults, as they have in previous meetings, and tease each other. Bénédict swears to his friends that he will never marry. Later, Claudio and Pedro scheme to trick Bénédict into marrying Béatrice. Knowing that he is listening, Léonato assures Pedro that Béatrice loves Bénédict.

Upon hearing this, Bénédict resolves that Béatrice's love must not go unrequited, and so he decides to pursue her. Meanwhile, elsewhere, Héro and her attendant, Ursule, manage to play a similar trick on Béatrice who now believes that Bénédict is secretly in love with her. Act 2[ edit ] To celebrate the pending wedding of Claudio and Héro, Léonato hosts a masquerade party . A local music teacher, Somarone, leads the group in song and everybody enjoys themselves except Béatrice who realizes that she has fallen in love with Bénédict. With Héro and Ursule she sings of the happiness of a bride about to be wed. As she turns to leave she is met by Bénédict, prompting an exchange in which they both attempt to conceal their love for each other. A notary solemnizes the marriage of Claudio and Héro, and, as arranged by Léonato, produces a second contract, asking for another couple to come forward.

Bénédict summons the courage to declare his love to Beatrice; the two sign the wedding contract, and the work ends with the words "today a truce is signed, we'll be enemies again tomorrow". Recordings[ edit ] There are several recordings of the opera. The overture, which refers to several passages in the opera without becoming a pot-pourri , is heard on its own in concerts and has been recorded many times. References[ edit ] ^ Berlioz and the Romantic Imagination. Catalogue for exhibition at Victoria and Albert Museum for Berlioz centenary. Art Council, London, 1969, p. 46, exhibit 131 (orchestral manuscript score). ^ a b c d Holoman DK. Béatrice et Bénédict. In: The New Grove Dictionary of Opera. Macmillan, London and New York, 1997. ^ Wilson CR. Shakespeare. In: The New Grove Dictonary of Opera. Macmillan, London and New York, 1997. ^ a b Cairns, D . Berlioz: Servitude and Greatness 1832–1869.

Allen Lane, London, 1999, p. 670. ^ MacDonald, Hugh (Ed). Selected Letters of Berlioz (translated by Roger Nichols). Faber & Faber, London, 1995, letter 407. ^ Noel E & Stoullig E. Les Annales du théâtre et de la musique, 16e édition, 1890. G. Charpentier et Cie, Paris, 1891, pp. 139–145. ^ Pitt C. Strasbourg. In: The New Grove Dictionary of Opera. Macmillan, London & New York, 1997. Original courtesy of Wikipedia: éatrice_et_Bénédict — Please support Wikipedia. This page uses Creative Commons Licensed content from Wikipedia . A portion of the proceeds from advertising on Digplanet goes to supporting Wikipedia. We're sorry, but there's no news about "Béatrice et Bénédict" right now. Limit to books that you can completely read online Include partial books (book previews) Oops, we seem to be having trouble contacting Twitter Support Wikipedia A portion of the proceeds from advertising on Digplanet goes to supporting Wikipedia.

Please add your support for Wikipedia! Searchlight Group Digplanet also receives support from Searchlight Group. Visit Searchlight Copyright © 2009-2016 Digparty. All rights reserved. Wine and Opera part 10: Béatrice et Bénédict Wine and Opera part 10: Béatrice et Bénédict 25th March, 2014 by Rupert Millar “Du vin! Du vin!” John William Waterhouse’s Tristan and Isolde from 1916 – standing in here for Béatrice and Bénédict but themselves the subject of one of Wagner’s famous works Time for some more Berlioz and when he wasn’t dragging his protagonists to Hell , he was adapting Shakespeare in this charming comic work. Written in the 1860s for the opening of the new opera house in Baden-Baden it was one of his last major works (he died in 1869) and is very closely based on the bard’s Much Ado About Nothing. Like Otello , Shakespeare aficionados will know the story.

Set on Sicily, the story concerns the mutually antagonistic Béatrice and Bénédict, the former the niece of Léonato, the governor of Messina, and the latter an officer in the army. With the pair having a teasing, rather flirtatious relationship but Bénédict proclaiming he will never marry, their respective friends play a practical joke on each of them. Each set of friends tells them that the other is in love with them, which leads to them to question their feelings and then Bénédict actually falls in love with Béatrice and she with him (slightly to her annoyance), the pair then trying to conceal their growing passion every time they meet (this being a comedy after all). This of course won’t do and by the end they’re happily wed, promising to be, “enemies again tomorrow”. The most explicit wine reference comes at the beginning of Act II when the wedding of Béatrice and Bénédict’s mutual friends Héro and Claudio is being prepared. The pompous music teacher, Somarone, leads the chorus in a rousing homage to Sicilian wine. Somarone: “Le vin de Syracuse Accuse

Question: The opera ' Beatrice and Benedict' by Berlioz is based on which Shakespeare play?
Answer: MUCH ADO ABOUT NOTHING