Editing Hector Berlioz (section)

===1850s: international success===
[[File:Gustave Courbet - Portrait of Hector Berlioz - WGA05492.jpg|Berlioz by [[Gustave Courbet]], 1850|thumb|upright|left|alt=oil painting of middle-aged man in right semi-profile, looking towards the artist]]
After the failure of ''La Damnation de Faust'', Berlioz spent less time on composition during the next eight years. He wrote a [[Te Deum (Berlioz)|Te Deum]], completed in 1849 but not published until 1855, and some short pieces. His most substantial work between ''The Damnation'' and his epic ''Les Troyens'' (1856–1858) was a "sacred trilogy", ''[[L'Enfance du Christ]]'' (Christ's Childhood), which he began in 1850.<ref>Rushton (1983), pp. 288–290</ref> In 1851 he was at [[the Great Exhibition]] in London as a member of an international committee judging musical instruments.<ref>Holoman (1989), p. 425</ref> He returned to London in 1852 and 1853, conducting his own works and others'. He enjoyed consistent success there, with the exception of a revival of ''Benvenuto Cellini'' at [[Royal Opera House|Covent Garden]] which was withdrawn after one performance.<ref>Holoman (1989), p. 445</ref> The opera was presented in Leipzig in 1852 in a revised version prepared by Liszt with Berlioz's approval and was moderately successful.<ref>Barzun, p. 285</ref> In the early years of the decade Berlioz made numerous appearances in Germany as a conductor.<ref>Holoman (1989), pp. 447–449, 450–453, and 457–460</ref>

In 1854 Harriet died.<ref name=bxx>Bloom (2000), p. xx</ref> Both Berlioz and their son Louis had been with her shortly before her death.<ref>Cairns (1999), p. 528</ref> During the year Berlioz completed the composition of ''L'Enfance du Christ'', worked on his book of memoirs, and married Marie Recio, which, he explained to his son, he felt it his duty to do after living with her for so many years.<ref name=bxx/><ref>Cairns (1999), pp. 540 and 546</ref> At the end of the year the first performance of ''L'Enfance du Christ'' was warmly received, to his surprise.<ref>Cairns (1999), pp. 549–551</ref> He spent much of the next year in conducting and writing prose.<ref name=bxx/>

During Berlioz's German tour in 1856, Liszt and his companion, [[Carolyne zu Sayn-Wittgenstein]], encouraged Berlioz's tentative conception of an opera based on the ''[[Aeneid]]''.<ref>Cairns (1999), p. 557</ref> Having first completed the orchestration of his 1841 song cycle ''Les Nuits d'été'',<ref>Cairns (2006), p. 4</ref> he began work on ''Les Troyens'' – The Trojans – writing his own libretto based on Virgil's epic. He worked on it, in between his conducting commitments, for two years. In 1858 he was elected to the [[Institut de France]], an honour he had long sought, though he played down the importance he attached to it.<ref>Bloom (1981), p. 194</ref> In the same year he completed ''Les Troyens''. He then spent five years trying to have it staged.<ref>Bloom (2000), pp. xxi–xxii</ref>