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Paris and Berlioz: the revival

Performances of his music, 1869-1884

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Berlioz by Lenoir

Table of performances

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    ‘At last they are going to play my music’ (Enfin on va jouer ma musique) Berlioz is reported (by Ernest Reyer) to have said while he lay on his deathbed. If true the remark was prophetic. Over the next few years performances of his music in Paris multiplied as never before and works that had not been heard there for years became regular items in concert programmes. ‘At present [Berlioz] is all the rage in Paris’ observed a London critic in 1880, while two years earlier another London critic had drawn a contrast between France and Britain: ‘works of Berlioz [are] all but unknown in this country’. In Paris the Berlioz revival had started well before 1878, indeed almost from the time of his death.

    This page is designed to document this revival by setting out in a series of chronological tables all the performances of the music of Berlioz that are known to have taken place in Paris from 1869 to the first half of 1884. The listing is intended to be as complete as possible, though gaps and errors may remain. The evidence has been compiled from the musical journal Le Ménestrel which appeared weekly in Paris every Sunday for over a century from 1833 to 1940, with one interruption of just over a year from late 1870 to late 1871 because of the Franco-Prussian war and the Commune in Paris, and a longer interruption from 1915 to 1918 because of World War I. The journal is available online on the Internet site of the Bibliothèque nationale de France. Le Ménestrel provided to its readers a virtually complete listing, week by week, of all major musical events that were taking place in Paris, together with shorter or longer reviews and other articles. The tables on this page are further supported by a companion page which reproduces a selection of reviews of these performances by a number of different contributors to Le Ménestrel. This latter page also gives links to articles by two friends and supporters of Berlioz, Auguste Morel and Ernest Reyer, which are reproduced on other pages of this site. Morel contributed to Le Ménestrel from 1876 to 1881, while Reyer had already been writing for the Journal des Débats since 1866.

    The terminal date of 1884 is somewhat arbitrary and is not intended to be final (the sequel is covered in the pages on Édouard Colonne, Charles Lamoureux and the Conservatoire, together with their associated texts). That year did not mark a waning of interest in Berlioz in Paris, and his music continued to be performed there for years to come. Indeed, it was in 1884 that a subscription for a monument in honour of Berlioz at Square Vintimille – subsequently renamed Square Berlioz – was launched, and the monument was inaugurated in 1886. The date has been chosen partly for convenience, to keep the subject within manageable limits, and partly because it was the date when the Concerts populaires conducted by Jules Pasdeloup came to an end. For more than two decades since the foundation of his concert society in 1861, Pasdeloup had played a decisive part in the concert life of Paris: he provided regular concerts at modest prices to large audiences who had not been catered for previously. At these concerts not only established classics were performed, but also contemporary composers, including Berlioz and Wagner, and Pasdeloup was prepared to promote contemporary music even against opposition from sections of his own public. After the end of the winter season 1883-1884 Pasdeloup, under increasing financial pressure, decided to retire from the scene; he did make one final comeback late in 1886 but died the following year, and the field was left to younger rivals who had learned and profited from his example, notably Édouard Colonne and Charles Lamoureux.

    There was a striking contrast between the difficulties Berlioz had faced in his lifetime in getting his music performed in Paris, and what happened after his death. (For comparison see the page Concerts and performances 1825-1869 and its companion page of Texts and documents.) It may be pointed out by the way that Berlioz did not enjoy at the outset the same advantages as Wagner did at his death 14 years later. When Wagner died in 1883, he was famous throughout Europe and at the height of his glory; all his works were known and received frequent performances, and he had built himself at Bayreuth a theatre dedicated to the performance of his music. He left after him a veritable dynasty: a devoted widow, Cosima the daughter of Liszt, a son Siegfried and two daughters, while Berlioz died without descendants (his son Louis had died in 1867). Wagner had also groomed in his lifetime a band of devoted followers, among them the conductors Hans Richter, Felix Mottl and Hermann Levy. At his death Berlioz enjoyed few of these assets.

    The reasons for the revival are complex, and probably no single factor is sufficient to account for it. One should probably think rather in terms of the interaction of favourable circumstances: after 1869 the public mood changed and audiences became more receptive to Berlioz; the more they heard his music the more they liked it, and concert societies and their conductors, who were themselves well-disposed to his music, thus felt encouraged to include more of his works in their programmes.

    From the comments of contemporary critics and writers a whole series of factors can be identified — the mere fact of the death of Berlioz, which drew attention to him and helped to reduce the instinctive hostility his name had sometimes evoked — the posthumous publication of his Memoirs early in 1870, timed to coincide with a Berlioz Festival organised in his honour by Ernest Reyer (22 March) — the presence on the scene of a group of devoted friends and supporters, such as Ernest Reyer himself, Georges de Massougnes, Oscar Comettant and Adolphe Jullien, for all of whom Berlioz though dead was a living presence, whose name and achievements demanded vindication through performance of his music — the existence from the start of two active concert societies that were in a position to begin to fulfil this demand, the long-established Conservatoire which had the finest orchestra in France but was more tradition-bound, and the more recently founded but much more adventurous Concerts populaires of Jules Pasdeloup — the growing appetite for orchestral concerts on the part of the Parisian public, which resulted in the launching of new concert societies in emulation of Pasdeloup, the most successful of which were those of Colonne at the Châtelet theatre (from autumn 1873) and Lamoureux at the Théâtre du Château-d’Eau (from autumn 1881) — the rivalry which developed between these conductors and their orchestral societies as they competed for attention and audiences (all their concerts were held on Sunday afternoons), which led them to include in their programmes music they believed would be well-received. Berlioz, as it turned out, became one major beneficiary of this remarkable and seemingly unique competition. The concert scene in Paris in the 1870s and 1880s was lively indeed, and before the invention of broadcasting and recording the concert hall or the opera house were the only places where large-scale orchestral music could be heard. Concert audiences of the time were exceptionally demonstrative in voicing their likes and dislikes, particularly the large crowds at the Concerts populaires. The Cirque d’hiver, where they took place, could seat nearly 5000, whereas the smaller Conservatoire only had a capacity of just over 1000 (the audience there was divided between the more strait-laced ‘subscribers of the first series’ — abonnés de la première série — as against the less exalted ‘subscribers of the second series’ — abonnés de la deuxième série — who had to wait till the following Sunday to hear the same programme). Audiences generally expected pieces to be encored if they so demanded, a practice which some deplored (Lamoureux tried to ban it, but without complete success), and programme schedules were not infrequently re-arranged at short notice to satisfy the demand for works that had been particularly successful.

    More generally, there arose in France in the 1870s a new mood of patriotism as a reaction to the defeat at the hands of Prussia in the 1870-1871 war, and this stimulated pride in France’s cultural achievements, in music and in other fields. The remarks of the young critic and writer Octave Fouque writing in 1878, who insisted that ‘Berlioz was French and truly French’, are one illustration of this. It was somewhat paradoxical that Berlioz should have benefited from the mood of the time. Though he had musical roots in 18th century France and was heir to the musical traditions of the French revolution, he did not present himself as a specifically ‘French’ composer and emphasised instead his debts abroad – Gluck, Beethoven, Weber and Spontini were his heroes, and he once described himself as ‘a musician who was three-quarters German’ (un musicien aux trois-quarts allemand). One should add that some of the leading champions of Berlioz in France (Ernest Reyer, Adolphe Jullien) were at the same time admirers of Wagner and deplored the rift that had developed between the two composers in their lifetime. For concert audiences what ultimately mattered was probably the music itself. Increasingly frequent performances of his music during the 1870s ensured that Berlioz became accepted, just as Wagner’s music gained increasing recognition in Paris through repeated concert performances in the early 1880s.

    Of all the works of Berlioz none achieved greater popularity in Paris than la Damnation de Faust, a work which had marked one of the greatest setbacks in the composer’s career when it was first performed in Paris in December 1846. The rise to fame of la Damnation can be traced in detail over a period of several years. The last time a substantial excerpt of the work had been heard in Paris in the composer’s lifetime was on 7 April 1861, when Part II, from Mephistopheles’ Voici des roses to the end, was performed at the Conservatoire, and according to Adolphe Jullien the reception was generally cool. No more was heard of the work in Paris until several years later (19 January 1868), when Pasdeloup, who had already been performing excerpts from Berlioz’s music on and off since 1862, now included for the first time the Marche hongroise in the programme of his Concerts populaires, a piece destined to become a firm favourite with Paris audiences (Le Ménestrel 19/1/1868, p. 63). In 1869 Henri Litolff, a composer whom Berlioz had befriended and championed, was the first to perform all three of the familiar orchestral excerpts (the Menuet des Follets, Valse des Sylphes, and Marche hongroise) at two concerts at the Opéra in November, only months after the composer’s death, and this was greeted by critics as a significant event. A few weeks later Pasdeloup followed his example (9 January 1870), and at the anniversary festival in honour of Berlioz on 22 March Reyer now included a larger selection of vocal pieces from Part II in the programme.

    Concert activity in Paris was then interrupted for a year by the Franco-Prussian war and the Paris Commune, but after it resumed the Conservatoire soon programmed again (7 and 14 January 1872) the selection from Part II that it had performed a decade earlier; this time, according to Adolphe Jullien, it was much better received. The selection was repeated the following December at the Conservatoire, now under the conductor Deldevez, who had some personal connections with the work: he had assisted in the proof-reading of the first edition in 1854, as Reyer recalls, and was devoted to the music of Berlioz. Two years later Deldevez repeated the programme once more (26 December 1874, 3 January 1875), and a year later took the further step of performing the first two parts complete (13 & 20 February 1876). Pasdeloup followed suit in 1877 (11 February), but in the meantime Colonne had also taken notice of the work’s increasing popularity.

    From the first concert of his new society in March 1873 Colonne, like Pasdeloup, had been regularly including shorter pieces by Berlioz in his programmes. In 1875 he went one step further and decided to attempt complete performances of longer works, l’Enfance du Christ in January, then Roméo et Juliette in November and December. He did not perform any longer works during 1876, while by this time Pasdeloup had provided Paris with its first complete performances since the time of Berlioz of the Symphonie fantastique (23 February 1873) and Harold en Italie (9 January 1876). Colonne now decided to put on the complete Damnation for 18 February 1877, but so did Pasdeloup at exactly the same time: they were the first complete performances of the work in Paris since 1846.

    This turned out to be a momentous occasion in the concert life of Paris: Pasdeloup’s performance went well despite a last minute change of singer, but Colonne’s was a triumph and a revelation. At once the work became famous and started on its extraordinary career of success: it had to be performed six times by Colonne in that season alone, and thereafter the public simply could not tire of it. It became Berlioz’s most popular and successful work in Paris and France (well ahead of the Symphonie fantastique), to the benefit of Colonne, who came to be seen as the leading Berlioz conductor of the time, his concert society which prospered thanks to the success of la Damnation, and the publisher Richault who took advantage of the new vogue to issue numerous arrangements of its most popular pieces. Other conductors were anxious to share in the work’s success: Pasdeloup continued to perform it from time to time (31 March and 7 April 1878; 6 March, 27 November and 4 December 1881; he also performed it in London in 1878), and Lamoureux gave four highly-praised performances in February 1884 with a completely fresh cast. But in practice Colonne seemed to have established a virtual monopoly of the work: down to the end of 1883 he conducted no less than 38 performances of the complete Damnation, and many more were to follow in his subsequent career. Colonne went on to attempt other works of Berlioz that had hitherto been overlooked, including the Requiem (March 1878), Lélio (November 1881) and the Symphonie funèbre et triomphale (January 1882). One contemporary critic said of Colonne that he had ‘the honour of being the Habeneck of the French Beethoven’ (Le Ménestrel 17/3/1878).

    Pasdeloup on his side did not give up: in November and December 1879 he put on concert performances of la Prise de Troie, a work which had never been performed, and Reyer is emphatic that the credit for the initiative belonged to Pasdeloup, not to Colonne (the announcement in Le Ménestrel is misleading in this respect). Colonne for his part felt obliged to reciprocate with rival performances of his own. He was unable to get ahead of Pasdeloup, who performed Act I then Acts I-II before him, but on 7 December the complete work was played, at the same time, in two different halls in Paris, and under two different conductors. Here again as with la Damnation Colonne in the end enjoyed greater success than his rival: he was able to give a further three performances, whereas Pasdeloup had to cancel another scheduled performance because of adverse weather conditions (which apparently did not affect a repeat performance by Colonne on the same day), and decided the following week to leave it at that.

    One fact stands out from the above outline: the credit for promoting the music of Berlioz in Paris in the 1870s and after belongs exclusively to the orchestral conductors and their concert societies, Pasdeloup, Colonne, and to a lesser extent the Conservatoire, but not to the opera houses. It was in concert performances that la Prise de Troie was first heard, not on stage at the Opéra as it should have been. Ever since the fall of Benvenuto Cellini in 1838 Berlioz had been excluded from the Opéra, and in 1863 it was only on the smaller Théâtre-Lyrique that he was able to get Les Troyens performed at long last, but in a truncated form. The story in Germany was different: in Weimar Benvenuto Cellini was revived thanks to Liszt in 1852 and 1856, and Béatrice et Bénedict received its first performances in Baden-Baden in 1862 and 1863, and was also performed in Weimar in 1863. Both works continued to be staged in Germany after Berlioz’s death (for example Cellini was revived once more by Hans von Bülow in Hanover in 1879, Béatrice was performed in Weimar in 1876), and the complete Les Troyens was first staged in Germany in Karlsruhe in 1890, though not as a single work but over two consecutive evenings. Ernest Reyer was among those who repeatedly pointed out and deplored the failure of opera houses in Paris to do justice to Berlioz. For Paris audiences of the end of the 19th century Berlioz remained above all a composer of orchestral music, ‘notre grand symphoniste français’ and the French counterpart to Beethoven (see for example Le Ménestrel 13/5/1877; 4/11/1877; 19/3/1882; 14/1/1883). Even admirers of Berlioz such as Reyer did not think of him as a great composer for the stage, a judgement that was not easily challenged so long as Les Troyens was not performed complete in the opera house as the composer had originally conceived it. Hence Berlioz’s success in the concert hall was not translated to the opera house (see further the page on Berlioz’s Operas in France 1869-1914). Wagner in Paris was more fortunate: increasingly accepted in the concert hall from the early 1880s he eventually reached the stage of the Opéra. In this crucial respect the posthumous Berlioz revival in Paris was incomplete.

Advert in the Ménestrel, 31 March 1878,  page 144

La Damnation de Faust

(Large view)

Table of performances

    The tables below are for the most part self-explanatory. The references to Le Ménestrel are in the format day/month; the year is that of the relevant table. The regular concerts of the main orchestral societies (the Conservatoire, Pasdeloup, Colonne, later Lamoureux) all took place on Sundays, which was also the day when at the time Le Ménestrel was published. It was normal practice for Le Ménestrel to announce the programme of the concerts on the day they took place, with a longer or shorter review often appearing the following week (hence many of the entries below have more than one reference). The concert season normally ran from late October to the end of March or early April, and there often were special concerts on Good Friday. The links in the Reviews column relate to three different pages: the separate page of articles and reviews from Le Ménestrel, the page of articles by Auguste Morel from 1876 to 1881, also from Le Ménestrel, and the page of feuilletons by Ernest Reyer in the Journal des Débats over the whole of the period covered.

    In the column of works performed abbreviations have been used to save space. Benvenuto = Benvenuto Cellini, Carnaval = overture le Carnaval romain, Chasse royale = Chasse royale et orage from Les Troyens, Corsaire = overture le Corsaire, Damnation = la Damnation de Faust, Enfance = l’Enfance du ChristFantastique = Symphonie fantastique, Francs-Juges = overture les Francs-Juges, Harold = Harold en Italie, Invitation = Invitation to the Dance (Weber, orch. Berlioz), Invocation = Invocation à la nature from Damnation, Marche = Marche hongroise from Damnation, Menuet = Menuet des Follets from Damnation, Pâtre breton = le Jeune pâtre breton, Trio = Trio for 2 flutes and harp from Enfance, Valse = Valse des Sylphes from Damnation. Where a title is mentioned without qualification (e.g. Damnation) it refers to a performance of the complete work. When excerpts from a larger work were performed the concert listings in Le Ménestrel did not always make clear which particular pieces were involved, though this can sometimes be deduced from the review after the concert.

    Abbreviations are also used for some of the venues mentioned below: Château-d’Eau = Théâtre du Château-d’Eau, Châtelet = Théâtre du Châtelet, Trocadéro = Salle des Fêtes du Trocadéro.

1869 1871 1873 1875 1877 1879 1881 1883
1870 1872 1874 1876 1878 1880 1882 1884


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
7 February Carnaval Cirque Napoléon Pasdeloup 7/2, p.79; 14/2, p.86 Anon.
7 November Menuet, Valse, Marche Opéra Litolff 7/11, p.387 & 391; 14/11, p.395 Bertrand, Fouque
14 November Le Roi Lear Cirque Napoléon Pasdeloup 14/11, p.398; 21/11, p.407 Jullien
21 November Menuet, Valse, Marche Opéra Litolff 14/11, p.395; 21/11, p.407; 28/11, p.412 Reyer


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
9 January Menuet, Valse, Marche Cirque Napoléon Pasdeloup 9/1, p.47 Jullien
16 January Invitation Cirque Napoléon Pasdeloup 16/1, p.55
30 January Roméo III, IV, II Cirque Napoléon Pasdeloup 30/1, p.72; 6/2, p.78 Jullien
22 March Berlioz Festival Opéra Reyer 20/3, p.122; 27/3, p.130-2 Comettant, Reyer
5 November Menuet, Valse Cirque d’hiver Pasdeloup 5/11, p.391


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
3 December Marche Cirque d’hiver Pasdeloup 3/12, p.7


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
7 January Menuet, Valse Cirque d’hiver Pasdeloup 7/1, p.47; 14/1, p.55 Anon.
Damnation part II (excerpts) Conservatoire ? 7/1, p.47; 14/1, p.55 Jullien
14 January Damnation part II (excerpts) Conservatoire ? 14/1, p.55
23 February Enfance (excerpt: Adieu des bergers) Salle Pleyel (Société Bourgault-Ducoudray) 25/2, p.103
3 March  Damnation (excerpt: Chœur de Gnomes et de Sylphes) Conservatoire ? 3/3, p.112; 10/3, p.119
13 March Chant sacré Conservatoire Guillot de Sainbris 17/3, p.127
31 March  Enfance part II Conservatoire Deldevez 31/3, p.144
3 November Damnation (excerpts) Cirque d’hiver Pasdeloup 3/11, p.399
8 December Damnation part II (excerpts) Conservatoire Deldevez 15/12, p.22 Anon.
15 December Damnation part II (excerpts) Conservatoire Deldevez 15/12, p.22
Late December Valse Institut musical (Mme Jaell, piano) 29/12, p.38


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
5 January Francs-Juges Cirque d’hiver Pasdeloup 5/1, p.48
23 February Fantastique Cirque d’hiver Pasdeloup 23/2, p.104; 2/3. p.112 Reyer
2 March  Damnation (excerpt) Cirque d’hiver Pasdeloup 2/3. p.112
9 March Valse Odéon Colonne 9/3, p.120; 16/3, p.127
Carnaval Conservatoire Deldevez 16/3, p.126 Anon.
16 March Roméo (excerpts) Cirque d’hiver Pasdeloup 16/3, p.127
6 April Damnation (aria) Conservatoire (Planté, piano) 30/3, p.141; 6/4, p.151; 13/4, p.156
23 April Damnation (aria) Conservatoire (Planté, piano) 20/4, p.167; 28/4, p.174
26 October Roméo (excerpts) Cirque d’hiver Pasdeloup 26/10, p.382 Reyer
2 November Fantastique (4th mov.) Cirque d’hiver Pasdeloup 2/11, p.391; 9/11, p.400
9 November Valse Châtelet Colonne 2/11, p.391; 9/11, p.400; 16/11, p.407 Announcement; Pougin
7 December Roméo (3rd mov.) Conservatoire Deldevez 14/12, p.14 Anon., Reyer
14 December Roméo (3rd mov.) Conservatoire Deldevez 14/12, p.15
Trio Salle Herz Concert Danbé 14/12, p.15


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
4 January Invitation Cirque d’hiver Pasdeloup 4/1, p.39
11 January Corsaire Châtelet Colonne 11/1, p.47
18 January Trio Châtelet Colonne 18/1, p.55
1 February Carnaval Cirque d’hiver Pasdeloup 8/2, p.79
1 March Carnaval Conservatoire Deldevez 1/3, p.103
Marche troyenne Châtelet Colonne 1/3, p.104 Reyer
8 March Carnaval Conservatoire Deldevez 8/3, p.110
2 May Damnation (aria) Salle Pleyel-Wolff (Planté, piano) 10/5, p.180
7 May Les Troyens (duet) Salle Érard (with piano) 10/5, p.183
25 October Harold (2nd mov.) Cirque d’hiver Pasdeloup 25/10, p.376
8 November Menuet, Valse, Marche Cirque d’hiver Pasdeloup 8/11, p.391
22 November Francs-Juges Conservatoire Deldevez 22/11, p.406
Roméo (2nd mov.) Cirque d’hiver Pasdeloup 22/11, p.406; 29/11, p.414
29 November Trio Châtelet Colonne 29/11, p.415
Francs-Juges Conservatoire Deldevez 29/11, p.415; 6/12, p.6
27 December Damnation part II (excerpts) Conservatoire Deldevez 27/12, p.30


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
3 January Damnation part II (excerpts) Conservatoire Deldevez 10/1, p.47 Anon., Reyer
10 January Enfance Châtelet Colonne 10/1, p.47 Reyer
17 January Enfance Châtelet Colonne 17/1, p.55; 24/1, p.62 Pougin
26 January Valse ? Concert Danbé 24/1, p.63
31 January Tristia no. 2 Conservatoire Deldevez 31/1, p.71
7 February Tristia no. 2 Conservatoire Deldevez 7/2, p.79
21 February Francs-Juges Cirque d’hiver Pasdeloup 21/2, p.95
Fantastique (2nd mov.) Châtelet Colonne 21/2, p.95; 28/2, p.102
14 March Enfance part II Châtelet Colonne 14/3, p.119
16 March Trio Salons Érard 14/3, p.119
14 November Carnaval ? Concerts modernes 14/11, p.399
21 November Menuet, Valse, Marche Cirque d’hiver Pasdeloup 21/11, p.407
28 November Roméo Châtelet Colonne 28/11, p.415
5 December Carnaval Conservatoire Deldevez 5/12, p.6; 12/12, p.15
Invitation Cirque d’hiver Pasdeloup 5/12, p.6
Roméo Châtelet Colonne 5/12, p.6-7 Anon., Reyer
12 December Carnaval Conservatoire Deldevez 12/12, p.15
26 December Enfance (excerpts) Cirque d’hiver Pasdeloup 26/12, p.31; 2/1/1876, p.39


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
9 January Harold Cirque d’hiver Pasdeloup 9/1, p.47; 16/1, p.54-5 Morel, Reyer
Francs-Juges Châtelet Colonne 9/1, p.47
23 January Marche Châtelet Colonne 23/1, p.63
30 January Damnation (Invocation) Cirque d’hiver Pasdeloup 30/1, p.71
13 February Damnation parts I & II Conservatoire Deldevez 6/2, p.78; 13/2, p.87; 20/2, p.94 Reyer, Wilder
Trio Châtelet Colonne 13/2, p.87; 20/2, p.94
20 February Carnaval Cirque d’hiver Pasdeloup 27/2, p.102
Damnation parts I & II Conservatoire Deldevez 20/2, p.95
12 March Harold Cirque d’hiver Pasdeloup 12/3, p.119
23 March Valse Cercle de l’Union Artistique Concert Danbé 26/3, p.134
2 April Roméo (2nd mov.) Châtelet Colonne 2/4, p.144; 9/4, p.151
21 April Enfance (excerpts) Châtelet Colonne 23/4, p.167 Morel
10 May  Béatrice (duet) Salle Herz Colonne 7/5, p.184; 14/5, p.191
5 November Chasse royale Cirque d’hiver Pasdeloup 5/11, p.383; 12/11, p.390 Morel
3 December Menuet, Valse, Marche Cirque d’hiver Pasdeloup 3/12, p.8; 10/12, p.14
Valse, Marche Châtelet Colonne 3/12, p.8; 10/12, p.14
31 December Roméo (3rd mov.) Conservatoire Deldevez 31/12, p.39
Fantastique Cirque d’hiver Pasdeloup 31/12, p.39


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
7 January Roméo (3rd mov.) Conservatoire Lamoureux 7/1, p.36
14 January Fantastique Cirque d’hiver Pasdeloup 14/1, p.54; 21/1, p.63 Anon.
Carnaval Châtelet Colonne 14/1, p.54; 21/1, p.63 Anon.
21 January Carnaval, Invitation Châtelet Colonne 21/1, p.63; 28/1, p.70 Morel
28 January Béatrice (duet) Châtelet Colonne 4/2, p.79
11 February Damnation parts I & II Cirque d’hiver Pasdeloup 11/2, p.87; 18/2, p.95 Morel
Roméo (excerpts) Châtelet Colonne 11/2, p.87; 18/2, p.95
18 February Damnation Cirque d’hiver Pasdeloup 18/2, p.95; 25/2, p.103-4 Moreno
Damnation Châtelet Colonne 18/2, p.95; 25/2, p.103 Morel, Reyer
25 February Damnation Châtelet Colonne 25/2, p.103; 4/3, p.108-9 Morel
4 March  Carnaval Cirque d’hiver Pasdeloup 4/3, p.112
Damnation Châtelet Colonne 4/3, p.112; 11/3, p.118 Morel
11 March Damnation Châtelet Colonne 11/3, p.119
18 March Fantastique Cirque d’hiver Pasdeloup 18/3, p.128
Damnation Châtelet Colonne 18/3, p.128
23 March Marche Frascati, rue Vivienne Arban Festival 18/3, p.128
25 March Damnation Châtelet Colonne 25/3, p.136 Reyer
19 April Damnation (excerpt: Chœur de Gnomes et de Sylphes) (Hôtel, boulevard Maillot) 22/4, p.168
9 May Berlioz concert Salle Érard Colonne 6/5, p.184; 13/5, p.190 Morel, Reyer
28 October Fantastique Cirque d’hiver Pasdeloup 28/10, p.382
Fantastique Châtelet Colonne 28/10, p.382; 4/11, p.390 Morel
11 November Fantastique Châtelet Colonne 11/11, p.399; 18/11, p.406-7
25 November Invitation Cirque d’hiver Pasdeloup 25/11, p.416; 2/12, p.7
La Captive Châtelet Colonne 25/11, p.416
9 December Roméo (excerpts) Cirque d’hiver Pasdeloup 9/12, p.15; 16/12, p.23 Anon.
Damnation Châtelet Colonne 9/12, p.15; 16/12, p.23 Morel
16 December Damnation Châtelet Colonne 16/12, p.23; 23/12, p.31 Reyer
23 December Damnation Châtelet Colonne 23/12, p.31
30 December Damnation Châtelet Colonne 30/12, p.39
Fantastique Cirque d’hiver Pasdeloup 30/12, p.39


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
6 January  Damnation Châtelet Colonne 6/1, p.47
Martini, orch. Berlioz Porte-Saint-Martin Concert Cressonnois 6/1, p.47
20 January Francs-Juges Cirque d’hiver Pasdeloup 20/1, p.64; 27/1, p.70
Roméo (2nd mov.) Châtelet Colonne 20/1, p.64; 27/1, p.70
Valse Porte-Saint-Martin Concert Cressonnois 27/1, p.71
10 February Roméo (2nd & 3rd mov.) Conservatoire Altès 10/2, p.87
Carnaval Châtelet Colonne 10/2, p.88; 17/2, p.94
17 February Chasse royale Châtelet Colonne 17/2, p.95
Roméo (2nd & 3rd mov.) Conservatoire Altès 17/2, p.95
3 March Trio Porte-Saint-Martin Concert Cressonnois 3/3, p.111
10 March Trio Châtelet Colonne 10/3, p.120
17 March Requiem Châtelet Colonne 3/3, p.109; 17/3, p.127 & 128; 24/3, p. 135 Morel, Reyer
Tristia no. 2 Conservatoire Deldevez 17/3, p.128; 24/3, p.134
Harold Cirque d’hiver Pasdeloup 17/3, p.128; 24/3, p.135 Pougin
23 March  Pâtre breton Salle Érard (Fondation Beaulieu) 31/3, p.141
24 March Requiem Châtelet Colonne 24/3, p.136; 31/3, p.141 Anon.
Tristia no. 2 Conservatoire Deldevez 24/3, p.136
26 March Valse Salle Érard (piano) 24/3, p.136
31 March  Requiem Châtelet Colonne 31/3, p.141 & 142
Carnaval Conservatoire Deldevez 31/3, p.142
Damnation Cirque d’hiver Pasdeloup 31/3, p.142; 7/4, p.150 Morel
7 April Carnaval Conservatoire Deldevez 7/4, p.150
Damnation Châtelet Colonne 7/4, p.152
Damnation Cirque d’hiver Pasdeloup 7/4, p.152
14 April Damnation Châtelet Colonne 7/4, p.152; 14/4, p.160
28 April Harold (2nd mov.) Conservatoire Deldevez 21/4, p.165; 5/5, p.179
6 June Troyens (septet) Trocadéro Colonne 9/6, p.219
? June Carnaval Trocadéro La Scala, cond. Franco Faccio 23/6, p.235
30 June Invitation Tuileries Gardens Colonne 30/6, p.248
7 July Carnaval Trocadéro Colonne 7/7, p.255
14 July Te Deum (March) Luxembourg Garden Colonne 9/4/1905, p.119 Anon.
10 October Fantastique Cirque d’hiver Pasdeloup 13/10, p.373 Anon.
17 October Valse, Marche Cirque d’hiver Pasdeloup 20/10, p.381
20 October Invitation, Damnation (excerpts) Cirque d’hiver Pasdeloup 20/10, p.380
27 October Damnation Châtelet Colonne 27/10, p.389; 3/11, p.397 Wilder
3 November Damnation Châtelet Colonne 3/11, p.398; 10/11, p.405
10 November Damnation Châtelet Colonne 10/11, p.405
17 November Damnation Châtelet Colonne 17/11, p.413
24 November Damnation Châtelet Colonne 24/11, p.422
1 December Carnaval Conservatoire Deldevez 1/12, p.7; 8/12, p.16 Morel
Invitation Cirque d’hiver Pasdeloup 1/12, p.7; 8/12, p.16
8 December Carnaval Conservatoire Deldevez 8/12, p.16
15 December Roméo Cirque d’hiver Pasdeloup 15/12, p.24; 22/12, p.31
17 December Marche Hippodrome Vizentini 15/12, p.24
29 December Carnaval Cirque d’hiver Pasdeloup 29/12, p.39; 5/1/1879, p.47


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
5 January Roméo (excerpts) Conservatoire Deldevez 5/1, p.47; 12/1, p.56 Reyer, Wilder
9 January Hymne à la France Hippodrome Vizentini 5/1, p.46; 12/1, p.51
12 January Roméo (excerpts) Conservatoire Deldevez 12/1, p.56
Trio Châtelet Colonne 12/1, p.56; 19/1, p.63
19 January Carnaval Châtelet Colonne 19/1, p.64; 26/1, p.71
2 February Roméo Châtelet Colonne 2/2, p.80; 9/2, p.87 Barbedette, Reyer
9 February Roméo Châtelet Colonne 9/2, p.88; 16/2, p.95 Morel
16 February Roméo Châtelet Colonne 16/2, p.95
Menuet, Valse, Marche Cirque d’hiver Pasdeloup 16/2, p.96
23 February Damnation Châtelet Colonne 23/2, p.104; 2/3, p.111
2 March Fantastique Cirque d’hiver Pasdeloup 2/3, p.112; 9/3, p.119
8 March Berlioz Festival Hippodrome Reyer, Vizentini 2/3, p.112; 16/3, p.124 Morel, Reyer
30 March Damnation Châtelet Colonne 30/3, p.143
3 April Trio Salle Pleyel Société des instruments à vent 30/3, p.143
6 April Damnation Châtelet Colonne 6/4, p.151
20 April Harold (2nd mov.) Cirque d’hiver Pasdeloup 20/4, p.168; 27/4, p.175
April Trio ? (Lebouc) 27/4, p.176
9 May Marche troyenne ? Concerts Besselièvre cond.  Vizentini 11/5, p.191
5 June Enfance (excerpt) Trocadéro (Guilmant, organ) 8/6, p.223
7 June Marche, Invitation Opéra (Festival) 1/6, p.213
August Valse (arrangement) Trocadéro (organ & piano) 17/8, p.303
2 November Trio Châtelet Colonne 2/11, p.392; 9/11, p.399
9 November Fantastique Cirque d’hiver Pasdeloup 9/11, p.399; 16/11, p.407
23 November Prise de Troie Act 1 Cirque d’hiver Pasdeloup 23/11, p.415 Reyer
30 November Carnaval Conservatoire Deldevez 30/11, p.420
Prise de Troie Acts I & II Cirque d’hiver Pasdeloup 30/11, p.420
7 December Carnaval Conservatoire Deldevez 30/11, p.420
Prise de Troie Acts I-III Cirque d’hiver Pasdeloup 30/11, p.420; 7/12, p.6 Moreno, Reyer
Prise de Troie Acts I-III Châtelet Colonne 23/11, p.415; 30/11, p.420; 7/12, p.7
14 December Prise de Troie Acts I-III Châtelet Colonne 14/12, p.15; 21/12, p.23 Anon.
21 December Prise de Troie Acts I-III Châtelet Colonne 21/12, p.22 Reyer
     (not given) [Prise de Troie Acts I-III] [Cirque d’hiver] [Pasdeloup] [14/12, p.15; 21/12, p.22]
28 December Prise de Troie Acts I-III Châtelet Colonne 28/12, p.31


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
4 January Tristia no. 2 Conservatoire Altès 4/1, p.39
Damnation Châtelet Colonne 4/1, p.39
11 January Tristia no. 2 Conservatoire Altès 11/1, p.47
18 January Damnation Châtelet Colonne 18/1, p.55
1 February Carnaval Cirque d’hiver Pasdeloup 1/2, p.71
Francs-Juges Châtelet Colonne 1/2, p.71
8 February Roméo Conservatoire Deldevez 8/2, p.79; 22/2, p.94
15 February Fantastique Cirque d’hiver Pasdeloup 15/2, p.86; 22/2, p.94
Roméo (2nd mov.) Châtelet Colonne 15/2, p.87; 22/2, p.94
Roméo Conservatoire Deldevez 15/2, p.86; 22/2, p.94
29 February Francs-Juges Châtelet Colonne 29/2, p.103
7 March Fantastique Châtelet Colonne 7/3, p.112
18 March Damnation (aria) Salle Pleyel (piano) 21/3, p.127
21 March Damnation  Châtelet Colonne 21/3, p.128
26 March Rêverie et caprice Cirque d’hiver Pasdeloup 4/4, p.143
28 March Requiem (2nd mov.) Châtelet Colonne 28/3, p.135; 4/4, p.143
4 April Damnation  Châtelet Colonne 4/4, p.143
10 October Francs-Juges Trocadéro Colonne 3/10, p.351; 10/10, p.359
17 October Benvenuto (overture) Châtelet Colonne 17/10, p.367; 24/10, p.374
Roméo (2nd mov.) Cirque d’hiver Pasdeloup 24/10, p.374
24 October Benvenuto (overture) Châtelet Colonne 24/10, p.374; 31/10, p.383 Morel
7 November Fantastique Châtelet Colonne 7/11, p.390
14 November Fantastique Châtelet Colonne 14/11, p.399; 28/11, p.415
21 November Benvenuto (overture, aria), Carnaval Châtelet Colonne 21/11, p.407; 28/11 p.415 Morel
5 December Corsaire Conservatoire Deldevez? 5/12, p.6; 12/12, p.14 Wilder
Harold Cirque d’hiver Pasdeloup 5/12, p.6; 12/12, p.14 Morel
12 December Le Roi Lear Châtelet Colonne 12/12, p.14; 19/12, p.22-3 Morel
Corsaire Conservatoire Deldevez? 12/12, p.14
19 December Le Roi Lear Châtelet Colonne 19/12, p.23; 26/12, p.31
26 December Trio (?) Cirque d’hiver Pasdeloup 26/12, p.31; 2/1/1881, p.38


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
9 January Carnaval Conservatoire Deldevez 9/1, p.46
Enfance Châtelet Colonne 9/1, p.46; 16/1, p.55 Morel
16 January Carnaval Conservatoire Deldevez 16/1, p.55
Enfance Châtelet Colonne 16/1, p.56 Reyer
6 February Invitation Cirque d’hiver Pasdeloup 6/2, p.80; 13/2, p.86
Fantastique, Invitation Châtelet Colonne 6/2, p.80; 13/2, p.87
8 February Enfance (Repos) Salons Pleyel Colonne 13/2, p.87
12 February Chant sacré Salle Herz Guillot de Sainbris 20/2, p.95
13 February Prise de Troie (aria, duet) Cirque d’hiver Pasdeloup 13/2, p.88; 20/2, p.94
27 February Roméo (excerpts) Conservatoire Deldevez 27/2, p.104
6 March Roméo (excerpts) Conservatoire Altès 6/3, p.112; 13/3, p.119 Wilder
Damnation  Cirque d’hiver Pasdeloup 6/3, p.112; 13/3, p.119 Darcours
Damnation  Châtelet Colonne 6/3, p.112; 13/3, p.119 Morel
13 March  Damnation  Cirque d’hiver Pasdeloup 13/3, p.120
Damnation  Châtelet Colonne 13/3, p.120; 20/3, p.126
15 March Enfance (Part II overture) Salle Érard Colonne 20/3, p.127
20 March Damnation  Châtelet Colonne 20/3, p.128
27 March Fantastique Cirque d’hiver Pasdeloup 27/3, p.136; 3/4, p.143
10 April Damnation (excerpts) Cirque d’hiver Pasdeloup 10/4, p.151; 17/4, p.159
Fantastique Châtelet Colonne 10/4, p.151; 17/4, p.158
15 April Tristia Châtelet Colonne 17/4, p.158
28 May Damnation (excerpts) Trocadéro Pasdeloup 22/5, p.200; 5/6, p.213
16 October Benvenuto (overture) Châtelet Colonne 16/10, p.366; 23/10, p.375
23 October Béatrice (duet), Carnaval Château-d’Eau Lamoureux 23/10, p.375; 30/10, p.383 Wilder
Tristia no. 3 Châtelet Colonne 23/10, p.375; 30/10, p.383
30 October Béatrice (duet), Carnaval Château-d’Eau Lamoureux 30/10, p.384
Francs-Juges Châtelet Colonne 30/10, p.384
6 November Fantastique, Lélio Châtelet Colonne 6/11, p.392; 13/11, p.399 Dolmetsch, Reyer
Valse, Marche Cirque des Champs-Elysées Broustet 6/11, p.392
13 November Lélio Châtelet Colonne 13/11, p.400
20 November [Damnation, cancelled] [Cirque d’hiver] [Pasdeloup] [20/11, p.407; 27/11, p.415]
Trio Cirque des Champs-Elysées Broustet 20/11, p.407
27 November Damnation  Cirque d’hiver Pasdeloup 27/11, p.415; 4/12, p.8 Pougin (?)
Roméo Châtelet Colonne 27/11, p.415; 4/12, p.8
4 December Damnation  Cirque d’hiver Pasdeloup 4/12, p.8
11 December Berlioz Festival Châtelet Colonne 11/12, p.16
18 December Berlioz Festival Châtelet Colonne 18/12, p.24; 25/12, p.31 Dolmetsch


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
22 January Damnation (excerpts) Conservatoire Deldevez 22/1, p.64
Symphonie funèbre Châtelet Colonne 22/1, p.64; 29/1, p.70 Dolmetsch
29 January Damnation (excerpts) Conservatoire Deldevez 29/1, p.71; 5/2, p.78
Symphonie funèbre (2nd & 3rd mov.) Châtelet Colonne 29/1, p.71; 5/2, p.78
12 February Carnaval, Marche Château-d’Eau Lamoureux 12/2, p.87; 19/2, p.94
Fantastique Châtelet Colonne 12/2, p.87; 19/2, p.94 Barbedette
Carnaval Cirque d’hiver Pasdeloup 12/2, p.87
Valse, Marche Cirque d’été Broustet 12/2, p.87
19 February Carnaval, Marche Château-d’Eau Lamoureux 19/2, p.95
26 February Damnation Châtelet Colonne 26/2, p.103; 5/3, p.110 Barbedette
5 March Damnation Châtelet Colonne 5/3, p.110 & 111; 19/3, p.125
12 March Damnation Châtelet Colonne 12/3, p.119; 19/3, p.125 Anon.
Roméo (2nd mov.) Cirque d’hiver Pasdeloup 12/3, p.119; 19/3, p.126
19 March Benvenuto (overture) Châtelet Colonne 19/3, p.127
9 April Excerpts from Prise de Troie, Troyens, Enfance Châtelet Colonne 16/4, p.159
22 October Carnaval Château-d’Eau Lamoureux 22/10, p.375; 29/10, p.383 Wilder
Roméo (excerpts) Châtelet Colonne 22/10, p.375; 29/10, p.383
29 October Carnaval Château-d’Eau Lamoureux 29/10, p.384; 5/11, p.390 Dubreuile
Valse, Menuet, Marche Cirque d’hiver Pasdeloup 29/10, p.384
12 November Francs-Juges Châtelet Colonne 19/11, p.407
19 November Francs-Juges Châtelet Colonne 19/11, p.407 Reyer
Carnaval Conservatoire Deldevez 19/11, p.407; 26/11, p.415
Béatrice (duet) Château-d’Eau Lamoureux 19/11, p.407; 26/11, p.415 Dubreuile
26 November Carnaval Conservatoire Deldevez 26/11, p.415 & 416
Béatrice (duet) Château-d’Eau Lamoureux 26/11, p.416; 3/12, p.7
3 December [Troyens (2 ballets) cancelled] [Châtelet] [Colonne] [3/12, p.7; 17/12, p.23]
10 December Fantastique Châtelet Colonne 10/12, p.16; 17/12, p.23
17 December Damnation Châtelet Colonne 17/12, p.23; 24/12, p.30 Barbedette
24 December Damnation Châtelet Colonne 31/12, p.39


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
7 January Damnation Châtelet Colonne 7/1, p.47
14 January Invitation Cirque d’hiver Pasdeloup 21/1, p.63
21 January Carnaval Châtelet Colonne 21/1, p.63
28 January Roméo   Conservatoire Deldevez 28/1, p.72; 4/2, p.79
4 February Roméo   Conservatoire Deldevez 4/2, p.80
Martini arr. Berlioz, Fantastique Châtelet Colonne 4/2, p.80; 11/2, p.86
9 March Roméo (strophes) Salle Pleyel Pasdeloup 18/3, p.127
18 March Francs-Juges Châtelet Colonne 18/3, p.127; 25/3, p.135
23 March Tristia no. 3 Châtelet Colonne 25/3, p.134 Barbedette
Enfance Part II Conservatoire Deldevez 18/3, p.127
24 March Enfance Part II Conservatoire Deldevez 18/3, p.127; 25/3, p.134 Anon.
1 April Tristia no. 3, Béatrice (duet) Châtelet Colonne 1/4, p.143
8 April Damnation Châtelet Colonne 8/4, p.151; 15/4, p.158
2 June Roméo (excerpts) Eden Pasdeloup 3/6, p.214
13 July Marche Opéra ? 15/7, p.259; 22/7, p.269
2 September Berlioz Festival Trocadéro ? 2/9, p.319; 9/9, p.326 Anon.
21 October Damnation Châtelet Colonne 7/10, p.358; 21/10, p.375; 28/10, p.384 Reyer
Carnaval Cirque d’hiver Pasdeloup 14/10, p.368; 21/10, p.375; 28/10, p.384
28 October Damnation Châtelet Colonne 28/10, p.384; 4/11, p.391
4 November Carnaval Château-d’Eau Lamoureux 4/11, p.391; 11/11, p.399 Wilder
11 November Carnaval Château-d’Eau Lamoureux 11/11, p.400; 18/11, p.407
16 December Fantastique Cirque d’hiver Pasdeloup 16/12, p.23; 23/12, p.30 Barbedette
23 December Damnation Châtelet Colonne 23/12, p.31; 30/12, p.39 Barbedette
Fantastique Cirque d’hiver Pasdeloup 23/12, p.31; 30/12, p.39


Date of performance Work Venue Conductor/artists Le Ménestrel Reviews
20 January Fantastique Châtelet Colonne 20/1, p.63; 27/1, p.71
27 January Fantastique Châtelet Colonne 27/1, p.72; 3/2, p.79 de Bricqueville
3 February Damnation Château-d’Eau Lamoureux 3/2, p.80; 10/2, p.86 Morsac
10 February Damnation Château-d’Eau Lamoureux 10/2, p.88; 17/2, p.95 Barbedette
Trio Châtelet Colonne 10/2, p.88
Tristia no. 2 Conservatoire Deldevez 10/2, p.88; 17/2, p.95
17 February Damnation Château-d’Eau Lamoureux 17/2, p.96; 24/2, p.103
Tristia no. 2 Conservatoire Deldevez 17/2, p.96
24 February Damnation Château-d’Eau Lamoureux 24/2, p.103 & 104; 2/3, p.111
Invitation Châtelet Colonne 24/2, p.104; 2/3, p.110
2 March Invitation Cirque d’hiver Pasdeloup 2/3, p.112
9 March Roméo (2nd mov.) Châtelet Colonne 9/3, p.120; 16/3, p.127
Roméo Cirque d’hiver Pasdeloup 9/3, p.120; 16/3, p.127 Barbedette
16 March Roméo Cirque d’hiver Pasdeloup 16/3, p.128; 23/3, p.135 de Bricqueville
Roméo (excerpts) Conservatoire Deldevez 16/3, p.128; 23/3, p.135
23 March Roméo (excerpts) Conservatoire Deldevez 23/3, p.136
6 April Damnation (2 excerpts) Château-d’Eau Lamoureux 6/4, p.152; 13/4, p.159
Troyens (ballets), Invitation Châtelet Colonne 6/4, p.152; 13/4, p.158
11 April Tristia no. 3 Châtelet Colonne 13/4, p.158

The Hector Berlioz Website was created on 18 July 1997 by Michel Austin and Monir Tayeb; this page created on 15 November 2011, updated on 1st May 2013.

© Michel Austin and Monir Tayeb. All rights reserved.

Articles and reviews of concerts, 1869-1884 (in French)
Auguste Morel and Berlioz (in French)
Ernest Reyer and Berlioz (in French

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