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(ˈbɛəlɪˌəʊz; French bɛrljoz)
(Biography) Hector (Louis) (ɛktɔr). 1803–69, French composer, regarded as a pioneer of modern orchestration. His works include the cantata La Damnation de Faust (1846), the operas Les Troyens (1856–59) and Béatrice et Bénédict (1860–62), the Symphonie fantastique (1830), and the oratorio L'Enfance du Christ (1854)
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


(ˈbɛr liˌoʊz)

Louis Hector, 1803–69, French composer.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
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Noun1.Berlioz - French composer of romantic works (1803-1869)Berlioz - French composer of romantic works (1803-1869)
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References in periodicals archive ?
The chapter headings - one on early music, three on German music, three on other nineteenth-century music arranged according to genre, and finally a chapter each on Wagner and Berlioz - might be mistaken for the foreshortened syllabus of a university survey of Western music.
He wrote several librettos, notably that for Hector Berlioz's Romeo et Juliette, and his prose works include Contes physiologiques (1854) and Realites fantastiques (1854).
For sheer grandeur of scale, elevation of style and audacity of conception, Berlioz's last opera, Les Troyens (1863), is The Ring of the Nibelung's only nineteenth-century competitor.
The portraits of Richard Wagner, Charles Gounod and Hector Berlioz are good examples of late-19th-century styles.
In 1846, when Hanslick was twenty-one, Hector Berlioz came to Prague to direct several concerts of his own music.
Berlioz 's Treatise on Modern Instrumentation and Orchestration (1844) established a new concept of the symphony orchestra and remains a basic text.
Richard Bratby BERLIOZ DAMNATION OF FAUST CBSO at Symphony Hall, Birmingham HHHHH An amiable drunken singing contest ensued as the CBSO Chorus's men divided into raucous students and lusty soldiers, everyone out for a night on the town - simultaneously singing in different languages and time signatures.
Based on Shakespeare's Much Ado About Nothing, Berlioz's opera-comique focuses on just one element of the story-the young title couple.
[Additionally,] it is in May 1839, not in 1834, that Berlioz mentions the alternative aria "Ah, plaignez ma misere!" derived from Elisabetta, regina d'Inghilterra, even if Dorus-Gras had reprised the role of the countess earlier.