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I notice that in the Berlioz quotation regarding The Aeneid Aeneid is mispelled Aenid, and that the translation of the same passage in the external links uses different phraseology, but the Aeneid is spelled correctly. Is this mispelling an error in Viajero's transcription, or is it spelled this way in the original translation? ~CS 00:34, 2 May 2005 (UTC)
The article on Berlioz refers to Colin Davis's Recording of Les Troyens as being "near complete." Here, it is called "complete" (which is what I always understood to be the case). Which is it? (Perhaps the answer is that the new prelude composed when the last three acts were done as Les Troyens à Carthage was not included.)
38.117.238.82 22:59, 11 December 2006 (UTC)
Does the "Slave Dance" call for an Egyptian goblet drum? Badagnani ( talk) 23:49, 20 March 2008 (UTC)
The score calls, in no. 33, ballet: Pas d'Esclaves Nubiennes (from Act IV), for a "tarbuka." Badagnani ( talk) 01:10, 26 March 2008 (UTC)
If it's La bohème and not La Bohème, why is it Les Troyens and not Les troyens? -- Jack of Oz [your turn] 02:34, 6 April 2011 (UTC)
Would it not be advisable to split off the "Recordings" section to a separate Discography article? 81.83.141.139 ( talk) 12:08, 15 August 2013 (UTC)
An anecdote once heard on BBC Radio 3, date unknown, I think from the man himself. (A French (Parisian?) museum had earlier reacted with shock to his suggestion that he borrow instruments from their collection for the purpose of actually playing them.) Narky Blert ( talk) 20:38, 19 October 2014 (UTC)
On Wikipedia, in Macbeth, the creator of Banquo in 1865 is given as Jules "Giulio" Bilis-Petit; for Les Troyens here the original Narbal is given as Jules "Giulio" Petit.
On the French opera site Art-Lyrique ' http://www.artlyriquefr.fr/dicos/Theatre-Lyrique%20chanteurs.htm' the singer is given as PETIT Jules Emile; in T J Walsh's book on the Théâtre Lyrique he gives him as Jules Petit. Unless there is evidence that he was an Italian working in France I would suggest that "Giulio" is simply an Italian translation of Jules in use in the data sources for that site and not correct. (I have no idea what "Bilis" is) Cg2p0B0u8m ( talk) 21:29, 18 November 2014 (UTC)
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Hello! This is a note to let the editors of this article know that File:Hector Berlioz, Les Troyens à Carthage vocal score cover - Restoration.jpg will be appearing as picture of the day on March 14, 2020. You can view and edit the POTD blurb at Template:POTD/2020-03-14. If this article needs any attention or maintenance, it would be preferable if that could be done before its appearance on the Main Page so Wikipedia doesn't look bad. :) Thanks! Cwmhiraeth ( talk) 11:26, 4 March 2020 (UTC)
This picture shows the cover of the "second version, second issue" of the vocal score for Les Troyens à Carthage, published in 1863.Illustration credit: Antoine Barbizet; restored by Adam Cuerden
... and should be the standard usage in formal writing. Autodidact1 ( talk) 00:22, 16 March 2020 (UTC)
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Les Troyens (The Trojans) is a French grand opera in five acts by Hector Berlioz, with a libretto written by the composer himself based on Virgil's Aeneid. The score was composed between 1856 and 1858, but Berlioz did not live long enough to see the work performed in its entirety. The first two acts were performed separately under the title La Prise de Troie. This picture shows the cover of the first-edition vocal score for La Prise de Troie, published in 1863. Illustration credit: Antoine Barbizet; restored by Adam Cuerden
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The cover La Prise de Troie says it has three acts. The cover for Les Troyens says it has two parts. The cover for Les Troyens à Carthage says it has five acts. The captions for all of the pictures disagree with the content of the pictures, and the discrepancy is not explained. How did the first two acts of a five-act opera become three acts? How did three acts of a five-act opera become five acts? Are there a total of 5 or 8 acts? Is it possible that someone made a translation mistake and La Prise is, like its cover says, the first three acts and Les Troyens à Carthage is the last two, for a total of five? If not, can this all be clarified in the article.
Hello! This is to let editors know that File:Hector_Berlioz,_Les_Troyens_vocal_score_cover_-_Restoration.jpg, a featured picture used in this article, has been selected as the English Wikipedia's picture of the day (POTD) for July 3, 2022. A preview of the POTD is displayed below and can be edited at Template:POTD/2022-07-03. For the greater benefit of readers, any potential improvements or maintenance that could benefit the quality of this article should be done before its scheduled appearance on the Main Page. If you have any concerns, please place a message at Wikipedia talk:Picture of the day. Thank you! Adam Cuerden ( talk)Has about 7.8% of all FPs 16:45, 23 May 2022 (UTC)
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Les Troyens is a grand opera in five acts by Hector Berlioz with a French-language libretto written by the composer himself based on Virgil's Aeneid. The score was composed between 1856 and 1858, but Berlioz did not live long enough to see the work performed in its entirety. However, the last three acts, substantially abridged, were performed during his lifetime under the title Les Troyens à Carthage by Léon Carvalho's company, the Théâtre Lyrique, in Paris in 1863. For this performance, Berlioz added an orchestral introduction and a prologue. He was not happy with the result, noting bitterly that he had agreed to let Carvalho do it "despite the manifest impossibility of his doing it properly. He had just obtained an annual subsidy of a hundred thousand francs from the government. Nonetheless the enterprise was beyond him. His theater was not large enough, his singers were not good enough, his chorus and orchestra were small and weak." This is the cover of the piano–vocal score of Les Troyens, published in 1863 by Choudens, with a lithographic illustration by Antoine Barbizet. Lithograph credit: Antoine Barbizet; restored by Adam Cuerden
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@ Chrisoko7: I tried to find a source to support your addition of the voice type 'soprano' to the role of Didon but could not. Just because some sopranos may be able to sing Didon does not mean it is a soprano role. And just because Anne Charton-Demeur sang high roles, such as Lucia or Donna Anna does not make her a soprano. Quite a few mezzos have an extended high end. Also, you do not know whether she transposed down some of the high notes when she sang those parts or even transposed entire arias to a lower pitch. When you make controversial changes like this, you must provide a source. Otherwise it constitutes original research (see WP:OR). -- Robert.Allen ( talk) 20:54, 23 June 2022 (UTC)