Berlioz’s Irish Connection and Shakespearean Love Affair

The Irish Actress Who Stole Berlioz’s Heart

Harriet Smithson, born in 1800 in Ennis, Co. Clare, was an actress destined for stardom. With both parents in the acting profession, she made her stage debut in Dublin at just 14, receiving rave reviews and quickly gaining fame across Ireland. After honing her skills on the Irish stage, she moved on to England and Europe, eventually captivating audiences in Paris.

On 11 September 1827, Smithson starred as Ophelia in a production of Hamlet at the Odéon Theatre in Paris. Her emotional performance left audiences spellbound, earning her the nickname “La Belle Irlandaise ("The Beautiful Irishwoman"). Among those in the crowd was a young Hector Berlioz, who was immediately smitten. His fascination with Smithson quickly turned into an unhealthy infatuation with her, secretly following her in the street and even taking rooms opposite her apartment.

Influenced by Smithson, Berlioz began working on one of his greatest works: Symphonie fantastique (1830). The symphony, a vivid self-portrait of an artist consumed by unrequited love, was Berlioz’s emotional response to his infatuation with Smithson. On a visit to Paris in 1832, Smithson attended a performance of the Symphonie fantastique on 9 December. Recognising herself in the programme notes, she was moved and shaken by the force of Berlioz's passion. They met for the first time the next day, fell in love, and agreed to marry. As Berlioz wrote to his friend Franz Liszt, “when she avowed her feelings openly, I was alarmed and driven nearly mad”.

As the day set for the wedding grew near she became hesitant, and at a meeting in August 1833 Berlioz forced the issue by taking poison in front of her. Despite his parents' opposition they married at the British embassy at Paris on 3 October 1833. Their relationship was as dramatic as any opera. Their union was short-lived, as they soon realised they had little in common. Despite the breakdown of their marriage, Smithson’s influence on Berlioz remained profound. She introduced him to the world of Shakespeare, an inspiration that would echo throughout his music.

Beatrice & Benedict is the third and final in Berlioz’s Shakespeare-inspired works, following the choral symphony Roméo et Juliette and the cantata La mort de Cléopâtre. It’s a joyful, comedic interpretation of Much Ado About Nothing, where love and wit take centre stage. Here are a few more fun facts about this sparkling gem:

Berlioz Wrote the Libretto
Not only did Berlioz compose the music, but he also wrote the libretto himself. While staying true to the spirit of Much Ado About Nothing, Berlioz made some creative cuts and adaptations, streamlining the plot to keep the focus on the central couple and their entertaining verbal sparring, creating a light, airy, and joyful work.

19th Century Rom-Com
At the heart of the opera is the witty banter between Béatrice and Bénédict, who are both stubbornly opposed to love and marriage. Their sharp-tongued exchanges and reluctant romance make this opera one of the most charming and comedic in the repertoire. Berlioz himself described it as ‘a caprice written with the point of a needle’, and the composer’s inimitable harmonic twists and turns persist throughout the piece. It’s like a 19th-century rom-com with grand orchestral flair!

An Opera Without a Villain
Unlike many operas that thrive on dark plots and sinister characters, Béatrice et Bénédict has no villain. Instead, it’s driven by misunderstandings and banter, with the stubborn lead couple providing all the drama. The stakes are low, but the fun is high!

Whether you’re a fan of Shakespeare, Berlioz, or simply love opera that sparkles with humour and romance, Beatrice & Benedict is a work that deserves a place on your must-see list.