Appendix 1

Summary

Berlioz's Preface

Berlioz's Preface (originally printed in the libretto available at the 1839 performances; reprinted in the first vocal score, 1858). Large paragraphing from NBE, other divisions between paragraphs in the 1839 edition marked ¶ Material in [] is editorial; material in {} is in the 1839 libretto but not the 1858 score.

The genre of this work will surely not be misunderstood. Although voices are frequently used, it is neither a concert opera nor a cantata, but a choral symphony [Symphonie avec choeurs].

The voices are present almost from the start, but this is to prepare the mind of the audience for the dramatic scenes, whose feelings and passions are to be expressed by the orchestra. I also had it in mind to draw the choral forces gradually into the musical argument; if they appeared too abruptly they might damage the unity of the work. ¶[Thus the {first} prologue, where following the example of {classical tragedy and} Shakespeare's own drama, the chorus gives an outline of the action, is sung by only fourteen voices. Later on we hear (from off stage) the chorus of Capulets (men) alone; then in the funeral procession, Capulet men and women. At the beginning of the finale the two full choruses of Capulets and Montagues appear with Father Lawrence; and at the close, the three choirs are united.

Only this final scene, when the two families are reconciled, belongs in the realm of opera or oratorio. Only this final scene, when the two families are reconciled, belongs in the realm of opera or oratorio.