LYCOS RETRIEVER 
Hector Berlioz: Benvenuto Cellini
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Berlioz supplemented his income becoming a critic, writing witty dissections of the idiocies of Parisian musical life. At 35, Paganini sent him 20,000 francs to enable him to devote all his time to composition. The Paganini-inspired symphonic Harold en Italie was written in 1834, followed by Romeo et Juliette and Benvenuto Cellini.
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In 1856 Berlioz visited Weimar where he attended a performance of Benvenuto Cellini, conducted by Liszt. His time with Liszt ... highlighted Berlioz's increasing lack of appreciation for Wagner's music, much to Liszt's annoyance.[53]
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Berlioz was so pleased with this overture and with its reception that he advocated using it as the prelude to the second act of Benvenuto Cellini. This practice still exists to this day.
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At the end of the Berlioz bicentennial year, little has shifted in the public estimation of this eternally unloved genius. The world's homage is in full flow – Benevenuto Cellini at the Met (and on BBC Radio 3); L’enfance du Christ in Lille, Lucerne and Los Angeles; Damnation du Faust in Zurich and Tokyo - but the parade of works feels, for the most part, more dutiful than devoted.
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