“Mademoiselle Louise Bertin, the daughter of the proprietor of the Journal des Débats, and sister of its chief editor, has been remarkably successful, both in literature and music. She is one of the ablest women of our time. Her musical talent, to my mind, is rather rational than emotional; but it is a real talent notwithstanding.” 

That’s Berlioz in his Mémoires, responding to criticisms of his boss’ daughter’s fourth and final opera La Esmeralda (based on Notre Dame de Paris, Bertin was the only composer with whom Victor Hugo ever collaborated). As Berlioz makes clear, she had to struggle with not just the usual prejudice against a female composer but with those who wanted to knock her powerful family connections. The result: in 1836 she abandoned opera for good.

It’s often been assumed that Berlioz was being paid to be kind, but with Fausto, the latest release from Palazetto Bru Zane, we have ample proof that Bertin was a force...