Cellini throws all his priceless metal statues and figures into the furnace to cast the Perseus statue, and all ends well. The Cardinal gives Cellini the option of casting the statue in record time, or of being hanged for murder. When the Cardinal threatens to give the casting of the statue to someone else, Cellini promises that he will break the rival statue, even if it were made by Michelangelo. The Pope-recast as a Cardinal in the opera-remembers that he commissioned Cellini to make a bronze statue of Perseus, a task Cellini had forgotten in his anxiety to capture Teresa.
Fieramosca persuades a friend to impersonate Cellini, and Cellini kills the imposter. His rival, the Papal Sculptor Fieramosca, overhears Cellini plotting to run away with Teresa during the carnival.
The story tells of Cellini’s love for Teresa, daughter of the Papal Treasurer Balducci. We only need to think of Romeo and Juliette, Harold in Italy, and the opera loosely adapted from the memoirs of the 16th century Florentine sculptor and goldsmith, Benvenuto Cellini. Benvenuto Cellini, Florence For all his dislike of Italian music, Hector Berlioz (1803-1869) kept returning to Italian subjects.
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