Canon
Where to start with Berlioz
Essential works to know this composer by — spread across their styles-
OrchestralHarold en Italie, H.68, op. 16
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VocalL' Enfance du Christ, op. 25, H.130
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StageLes Troyens — Opera
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OrchestralSymphonie fantastique: Épisode de la vie d'une artiste, op. 14
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OrchestralGrande symphonie funèbre et triomphale, op. 15
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VocalLa Damnation de Faust, op. 24
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VocalRequiem, H.75, op. 5
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OrchestralRoméo et Juliette, for alto, tenor, bass, chorus and orchestra, H.79, op. 17
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VocalTe Deum, H.118, op. 22
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Vocal8 Scénes de Faust, for solo voices, chorus, orchestra and guitar, H.33, op. 1
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Vocal9 Mélodies irlandaises, for soloist, chorus and piano, op. 2
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VocalAdieu, Bessy, H.46a, op. 2, no. 8
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VocalAmitié, reprends ton empire, for 2 sopranos, baritone and piano, H.10b
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StageBenvenuto Cellini — Opera
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StageBéatrice et Bénédict — Opera
Listening guide
Hand-curated paths into Berlioz's catalogueMost Popular
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Symphonie Fantastique
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Harold en Italie
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Overture: Roman Carnival
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L\’Enfance du Christ
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Requiem (Grande Messe des Morts)
Most Acclaimed
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Requiem Op. 5requires 4 brass bands placed at the four corners of the hall
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Les Troyens5-hour epic opera — rarely performed complete
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Romeo et Juliette (dramatic symphony)
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La Damnation de Faust
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Nuits d\’étésong cycle — the first orchestral song cycle
Most Weird
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Lélio, ou le retour à la viethe sequel to Symphonie Fantastique — requires a narrator who speaks to the invisible orchestra
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Les Troyens5 hours; Berlioz never heard it complete in his lifetime
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Requiemthe Tuba Mirum requires 4 brass bands to enter from 4 directions simultaneously — the hall shakes
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Harold en ItaliePaganini commissioned it; when he saw the viola part was too simple, he refused to play it
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Symphonie Fantastique — Fifth movementDies Irae on tubas + sabbath of witches + his beloved’s theme distorted into a dance
Similar composers
Same era, overlapping styles — by genre & period affinityWorks 60
- Orchestral
- ● Harold en Italie, H.68, op. 16
- ● Symphonie fantastique: Épisode de la vie d'une artiste, op. 14
- Grande symphonie funèbre et triomphale, op. 15
- Roméo et Juliette, for alto, tenor, bass, chorus and orchestra, H.79, op. 17
- Dance of the Spirits
- Grande ouverture des Francs-Juges, H.23d
- Le carnaval romain, op. 9
- Le corsaire, op. 21
- Le roi Lear, H.53, op. 4
- Marche de Rákóczy, H.109
- Rob Roy Overture, H.54
- Rêverie et caprice, for violin and orchestra, H.88, op. 8
- Waverly, H.26, op. 1
- Vocal
- L' Enfance du Christ, op. 25, H.130
- La Damnation de Faust, op. 24
- Requiem, H.75, op. 5
- Te Deum, H.118, op. 22
- 8 Scénes de Faust, for solo voices, chorus, orchestra and guitar, H.33, op. 1
- 9 Mélodies irlandaises, for soloist, chorus and piano, op. 2
- Adieu, Bessy, H.46a, op. 2, no. 8
- Amitié, reprends ton empire, for 2 sopranos, baritone and piano, H.10b
- Canon libre à la quinte, song for 2 voices and piano, H.14
- Chansonette de M. Léon de Wailly, H.73
- Elégie en prose, H.47, op. 2, no. 9
- Fleurs des landes, op. 13
- Herminie, for soprano and orchestra, H.29
- Hymne à la France, for chorus and orchestra, H.97, op. 20, no. 2
- Je crois en vous, H.70
- L'Impériale, for chorus and orchestra, op. 26
- La Belle voyageuse, H.42a, op. 2, no. 4
- La Captive, H.60, op. 12
- La Mort d'Ophélie, for soprano or tenor, H.92a, op. 18, no. 2
- La Mort d'Orphée, for tenor, women's chorus, and orchestra, H.25, "monologue et bacchanale"
- La Mort de Cléopâtre, for soprano and orchestra, H.36
- Le Ballet des ombres, for chorus and piano, H.37, op. 2
- Le Chasseur danois, H.104
- Le Jeune Pâtre breton, for voice and piano and horn ad lib, H.65, op. 13, no. 4
- Le Maure jaloux, H.9
- Le Menace des francs, for 2 tenors, 2 basses, 6-part chorus and orchestra, H. 117. Op.20, no. 1
- Le Montagnard exilé, for 2 sopranos and piano, H.15
- Le Temple universel, for double chorus and organ or unaccompanied male chorus, H.137
- Les Champs, H.67, op. 19, no. 2
- Les Nuits d'été, H.81, op. 7, for voice and piano
- Lélio, ou Le retour à la vie, H.55, op. 14bis
- Marche funèbre pour la dernière scène d'Hamlet, for chorus, and orchestra, H.103
- Messe solennelle
- Pleure, pauvre Colette, for 2 voices and piano, H.11
- Prière du matin, H.112
- Quartetto e coro dei maggi, for chorus and orchestra
- Resurrexit II, H.20b
- Sara la baigneuse, for 2 voices and piano, H.69, op. 11
- Tantum ergo, for 2 sopranos, alto, female chorus and organ, H.142
- Tous qui l'aimas, verse des pleurs, song for tenor and piano, H.16
- Tristia, H.119, op. 18
- Veni Creator, motet for 3 voices and chorus, H.141
- Zaïde, boléro, for voice, castanets and piano, H.107, op. 19, no. 1
- Stage
- Les Troyens — Opera
- Benvenuto Cellini — Opera
- Béatrice et Bénédict — Opera
- Les Francs-Juges — Opera