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・ Les Trois Accords
・ Les trois cloches
・ Les Trois Frères, le retour
・ Les Trois Glorieuses
・ Les Trois Grâces
・ Les Trois Mousquetaires
・ Les Trois Rivières
・ Les Trois Vallées
・ Les Trois-Domaines
・ Les Trois-Moutiers
・ Les Trois-Pierres
・ Les Trois-Îlets
・ Les Trophées du Libre
・ Les troqueurs
・ Les Trottoirs de Bangkok
Les Troyens
・ Les Truands
・ Les Tuche
・ Les Tuniques Bleues
・ Les Twentyman
・ Les Twins
・ Les Tyrell
・ Les Ténèbres du Dehors
・ Les Têtes Brulées
・ Les têtes interverties
・ Les Ulis
・ Les Ulmes
・ Les Unruh
・ Les Uns et les Autres
・ Les Uns Mais Pas Les Autres


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Les Troyens : ウィキペディア英語版
Les Troyens

''Les Troyens'' (in English: ''The Trojans'') is a French grand opera in five acts by Hector Berlioz.〔Berlioz 2003.〕 The libretto was written by Berlioz himself from Virgil's epic poem the '' Aeneid''; the score was composed between 1856 and 1858. ''Les Troyens'' is Berlioz's most ambitious work, the summation of his entire artistic career, but he did not live to see it performed in its entirety. Under the title ''Les Troyens à Carthage'', the last three acts were premièred with many cuts by Léon Carvalho's company, the Théâtre Lyrique, at their theatre (now the Théâtre de la Ville) on the Place du Châtelet in Paris on 4 November 1863, with 21 repeat performances.
==Composition history==

Berlioz began the libretto on 5 May 1856 and completed it toward the end of June 1856. He finished the full score on 12 April 1858.〔MacDonald, Hugh, "Correspondence: Berlioz's ''Les Troyens''" (January 1964). ''Music & Letters'', 45 (1): pp. 102-103.〕 Berlioz had a keen affection for literature, and he had admired Virgil since his childhood.〔Cairns, David, "Berlioz and Virgil: A Consideration of ''Les Troyens'' as a Virgilian Opera (1968-1969). ''Proceedings of the Royal Musical Association'', 95th Session: pp. 97-110.〕 The Princess Carolyne zu Sayn-Wittgenstein was a prime motivator to Berlioz to compose this opera.
On 3 May 1861, Berlioz wrote in a letter: "I am sure that I have written a great work, greater and nobler than anything done hitherto." Elsewhere he wrote: "The principal merit of the work is, in my view, the truthfulness of the expression." For Berlioz, truthful representation of passion was the highest goal of a dramatic composer, and in this respect he felt he had equalled the achievements of Gluck and Mozart.

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