Here the second act, which takes place on Ash Wednes day, is played. A plaster cast of Cellini's Perseus is seen and the molders are busily at work. But the master is absent and Teresa is in an agony of apprehension.
Cellini arrives, his white garb spattered with blood, and tells of his hairbreadth escapes. He declares it to be an immediate necessity for him to leave the city but Ascanio in consternation reminds him of his promise to have the statue finished the next day. Cellini jauntily consigns the statue, together with the Pope and the law, to the devil. Balducci and Fieramosca arrive inopportunely and the lather calls upon his prospective son-in-law to destroy the wretch, but upon Cellini's promise to " help him into Hades " if he tries, Fieramosca shows the white feather.
The Cardinal enters to see how the statue is progress ing. Seeing that Cellini has been dilatory, he declares that another shall finish it, and Cellini replies that rather than give it into another's hands he will shatter it into bits. He is raising his hammer to make good his word when the frightened Cardinal promises him whatever he wishes if he will desist. He promptly asks for absolution, for Teresa and for an opportunity to finish the statue. The Cardinal grants him until evening to finish the work, with hanging as an alternative. It is already late and everybody, Cellini included, regards his fate as sealed.
They set to work, however, but the men work only half-heartedly and Cellini tries vainly to start a gay tune for inspiration. No great additional encouragement is
afforded by the arrival of Fieramosca, and two officers with huge rapiers, who watch proceedings and repeat Cellini's words, " I come to help you into hell." The work goes on madly. The shop is a scene of breathless hurry. The gold is melting in the furnace and the workmen come to demand more metal. Cellini's heart sinks and Teresa is in terror but Cellini saves the day by sacrificing his other masterpieces which are consigned to the furnace. Perseus is achieved and Cellini wins. The Cardinal grants him pardon, and his one-time enemies, Balducci and Fieramosca, add their voices to the general rejoicing.
" Benvenuto Cellini," Berlioz' first opera, was with drawn after three representations but in recent years has had a number of successful revivals.
Notable numbers in the score are the overture, which was written later and which, under the title of " La Carnival Romain," has frequent performance in the concert-room; the terzetto of the first act; Teresa's aria, " Entre ]'amour et le devoir " (" Between my love and my duty ") ; the gold smith's chorus sung in the Place Colonne, " La terre aux beaux fours "(" The earth on days so fair ") i " Cette somme test due " (" This the sum that's due you "), sung by Ascanio; Fieramosca's number, " Vive l'escrime!" (" Hail to the Sword "); the love duet of Cellini and Teresa, "Ah! le del, cher epoux " ("Ah! 'tis heaven, dear love") and the music of the Carnival scene.