Completed in 1843, Hector Berlioz’s Roman Carnival Overture was composed as an introduction to the second act of Benvenuto Cellini, based on the first-act aria “O Teresa, vous que j’aime” (O Teresa, whom I adore) and foreshadowing the Act II saltarello danced on the Piazza Colonna in Rome. During rehearsals for the opera in 1838, this particular saltarello was a significant point of contention between Berlioz and the work’s conductor, François Antoine Habeneck, whose dysfunctional working relationship may have contributed to the opera’s poor reception. As Berlioz complained in his memoirs, Habeneck “…never could catch the lively turn of the saltarello…The dancers, not being able to adapt themselves to his dragging time, complained to me, and I kept on repeating, ‘Faster, faster! Put more life into it!”’  

Berlioz was vindicated some years later when Habeneck happened to be present at the first concert performance of the Roman Carnival Overture. Although the wind players missed the morning rehearsal because they were called out for the National Guard, the performance went brilliantly, according to the composer.  

Not a single mistake occurred. I launched the allegro [based on the saltarello] in the whirlwind time of the Trasteverine dancers. The public cried “Bis!” We played the overture over again; it was even better done the second time. And as I passed back through the green-room, where Habeneck stood looking a little disappointed, I just flung these few words at him: “This is how it ought to go!” to which he took care to make no reply. Never did I feel more keenly the delight of being able to direct the performance of my music myself; and the thought of what Habeneck had made me endure only enhanced my pleasure.   

©Jennifer More, 2023