The Pope then makes Cellini an offer: if Cellini can cast the statue that evening, he will forgive Cellini's crimes and let him marry Teresa. Balducci and Fieramosca then appear. The Pope then appears to check on the progress of the statue. Francis I, the King of France who admires the Renaissance artists , gives him shelter at the court of Fontainebleau. In 1856, the vocal score of the Weimar edition was published in Germany. The artist then goes to the room, where he has the lady secreted and tries to persuade her to remove the mask, but she, grabbing a dagger from his belt, threatens to commit suicide if he touches her. Pompeo suggests that they too disguise themselves as monks and abduct Teresa themselves. The Pope’s treasurer, Balducci, mistrusts Cellini, preferring a local (and mediocre) sculptor, Fieramosca, to whom he has promised his beautiful daughter, Teresa, who in turn is in love with Cellini. The sculptor is at a reception at the palace, where it becomes known that he is contemplating molding a beautiful statue and is in search of a model.

She tries to assure them that they will be paid eventually, but to no avail. Cellini then reappears, and he and the workmen force Fieramosca to don workclothes to help out. Benvenuto Cellini, the famed sculptor, has left Italy after a period of serious legal troubles. Benvenuto Cellini was an Italian goldsmith, sculptor, draftsman, soldier, musician, and artist who also wrote poetry and a famous autobiography. In the Ascanio and Teresa wait for Cellini in his studio.

The Pope pardons Cellini, and Cellini and Teresa are united. Balducci denounces Cellini as a murderer and then promises Teresa to Fieramosca in marriage. This is not so, as Fieramosca is about to offer a bribe to the goldsmiths to cease work completely. The prelate has commissioned Benvenuto Cellini, a hot blooded but brilliant Florentine sculptor and goldsmith, to create a statue of Perseus killing the Medusa. To Teresa's surprise, Balducci produces Fieramosca from the bedroom. Fieramosca and his men leave. Ascanio goes off to find a horse. However, the London reception was poor. The high-calibre cast, headed by Burkhard Fritz as the temperamental Renaissance artist and the 26-year-old Latvian soprano Maija Kovalevska as Teresa, the woman with whom he tries to elope, is conducted by Valery Gergiev who 'pulled out all the stops.

Upon hearing Balducci approach, Fieramosca hides in Teresa's bedroom, and Cellini hides behind the main room door.

He does not hear all the information on the first rendition, but he does on the second. He agrees, and the lady comes to the studio and fills her part of the contract by posing as a model for the famous statue, the Nymph of Fontainebleau, but carefully concealing her face behind a mask. Bernardino asks for more wine, but the innkeeper demands settlement of their tab. One day Cellini receives a letter from a duchess who tells him that she is ready to pose for him on one condition - that she wears a mask. Francis I, the King of France who admires the Renaissance artists , gives him shelter at the court of Fontainebleau. In the evening, the Pope and Balducci arrive to see if the statue is completed. Cellini then threatens to destroy the mould, and when the Pope's guards approach him, he raises his hammer. Cellini accepts and asks to settle it on the spot, but Fieramosca prefers it to be done away from his workplace. Fieramosca then appears, and Teresa faints, thinking that Cellini is dead. La première se déroula le 10 septembre 1838. Balducci goes into her bedroom, and Cellini escapes in the meantime. After this is done, an explosion blows the lid off the crucible. The opera closes with praise for the goldsmiths. Cellini makes excuses, but the Pope dismisses them and decides that he will give the commission to another sculptor. The opera's characterisation of the historical figure of Cellini is discussed in detail in The conductor is mentioned by Berlioz in his memoirs (pp. Benvenuto Cellini Synopsis Time: 1532Place: Rome, during Carnival, over Shrove Monday, Mardi Gras, and Ash Wednesday. A poster for the premiere lists the last names of the entire cast without specifying roles (Holomon 1989, p. 191).

He does so, and explains his plan to take her away from her father so that they can live together. Fieramosca has also overheard this plan, and confides to his friend Pompeo. Balducci and Fieramosca acknowledge Cellini's success.

A Florence, au XVIe siècle, en pleine Renaissance.

He and his assistant Ascanio will be disguised as monks, and will take her from her father during the Mardi Gras celebrations, when the Castel Sant'Angelo cannon is sounded to mark the end of Carnival. The workmen are at their labours and sing a sea-shanty, which Cellini sees as a bad omen. Berlioz wrote in his memoirs that in 1834 (when he was thirty years old)I had been greatly struck by certain episodes in the life of The only plot element drawn directly from Cellini's memoirs concerns the casting of his statue of The original libretto (now lost), which seems to have been in the format of an It was performed in London in 1853. Fieramosca then announces that they are out of metal, which Francesco and Bernardino confirm. Tableau 1 (Balducci's residence) Balducci has been summoned to a meeting with Pope Clement VII concerning the Pope's commission of a bronze statue of Perseus from the sculptor Benvenuto Cellini. Ascanio then appears with the Pope's advance payment for the Perseus statue, but also with a warning that the casting of the statue must occur the next day. This turns the goldsmiths against Fieramosca and they reassert their loyalty to Cellini. He and Teresa call on the servants and neighbors to take Fieramosca and dump him outside in the fountain, but Fieramosca breaks free of the crowd. The artist and his attendant follow her and when she enters the palace he climbs in through her chamber window and kidnaps her, carrying her away to a deserted castle in the country. When the statue known as 'The Nymph of Fontainebleau' is completed the artist asks his mysterious model to unmask herself. But Teresa is smitten with Cellini. When the King receives the missive he comes to the studio and, after viewing the statue, becomes very desirous of seeing the model. To distract her father, Teresa invents a story about a noise in her bedroom.