Already Berlioz's 2003 bicentenary is well behind us. The conferences, performances, and colloquia surrounding his 200th birthday helped not so much to reignite an interest in his work, since the fires were already burning strong, in large part thanks to the work of the “new Berliozians” of the 1990s, but they did bring together these scholars and others, including some newer Berliozians whose contributions rest on this sturdy foundation (and among whom I count myself). They allowed audiences to rediscover many of Berlioz's fine works and to refine their understanding of this man whose singular music has suffered from such mischaracterization and prejudice. And they provided an opportunity for those who cared deeply about Berlioz to assess what strides had been made and what work was left to be done.

The field of Berlioz studies is in good shape. The New Berlioz Edition is now complete, as is the Correspondance générale. New volumes have been added to the complete criticism. We are blessed with a number of exemplary Berlioz biographies, ranging from Hugh Macdonald's Berlioz (1982) to D. Kern Holoman's Berlioz (1989), Peter Bloom's The Life of Berlioz (1998), and David Cairns's magisterial two-volume biography, The Making of an Artist (1989) and Servitude and Greatness (1999).