_Benvenuto Cellini_ takes an episode in the artist’s life and narrates it against the brilliant background of fashionable Rome in carnival time. The music is picturesque and the carnival scenes are brilliant and effective. But a far greater interest attaches to Berlioz’s double opera ‘The Trojans.’ It was the work on which Berlioz lavished the affection and inspiration of his last years, the failure of which broke his heart. In it a remarkable change has come over the frenzied revolutionist of the thirties. It is a work of the utmost restraint, of the finest sense of form and proportion, of truly classical purity. Romain Rolland has pointed out the classical nature of Berlioz’s personality, and the paradox is amply justified by this last opera. In Rolland’s view Berlioz was a Mozart born out of his time. His sensitive soul, ‘eternally in need of loving or being loved,’ was seared by the noise and bustle of the age, and reflected it in his music until disappointment and failure had forced him to withdraw into his own personality and write for himself and the muses. Berlioz’s admiration for Gluck’s theories, music, and artistic personality is vividly recorded in the earlier pages of the Memoirs. But in his student days there was no opportunity for such an influence to show itself. In his last years it came back--all Gluck’s refinement, high artistic aim and classic self-control, but deepened by a wealth of technical mastery that Gluck knew nothing of. We are amazed, as we look over the choruses of ‘The Trojans,’ to see the utter simplicity of the writing, which is never for a moment routine or commonplace--the simplicity of high and rigid selection. The first division of the opera tells the story told in the Iliad, of the finding of the wooden horse, the entrance into Troy, the night sally, and the sack of the city. Cassandra, priestess of woe, warns her people, but is received with deaf ears. Over the work there hangs the tragic earnestness of the Iliad, which Berlioz loved and studied. In the second division the Trojans are at Carthage, and, instead of war we have the voluptuous lovemakings of Dido and Æneas, and the final tragedy of the Trojan queen, all told with such emotional intensity that the music is almost worthy to stand beside that of Wagner. ‘The Damnation of Faust,’ which follows the course of Goethe’s play with special emphasis on the supernatural elements (freely interpolated), is best known as a concert work, being hardly fitted for the stage at all. It is picturesque in the highest degree. Berlioz’s mastery of counterpoint and orchestration is here at its highest. The interpolated ‘Rackozcy March’ is universally known, and the ‘Dance of the Sylphs’ is one of the stock examples of Berlioz’s use of the orchestra for eerie effects. The chorus of demons is sung, for the sake of linguistic accuracy, to the words which Swedenborg gives as the authentic language of Hell.