'''Louise-Angélique Bertin''' (Les Roches, Essonne, 15 January 1805Paris, 26 April 1877) was a French composer and poet.Hugh Macdonald. "Bertin, Louise." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/02913 (accessed December 30, 2010).
Louise Bertin lived her entire life in France. Her father, Louis-François Bertin, and also her brother later on, were the editors of ''Journal des débats'', an influential newspaper. As encouraged by her family, Bertin pursued music. She received lessons from François-Joseph Fétis, who directed a private family performance of ''Guy Mannering,'' Bertin's first opera, in 1825. This opera, never formally produced, took its story line from the book of the same name, written by Sir Walter Scott. Two years later, Bertin's second opera, ''Le Loup-garou'', was produced at the Opéra-Comique.
At the age of 21, Bertin began working on an opera semiseria, ''Fausto'' to her own libretto in Italian, based on Goethe's ''Faust'', a subject "almost certainly suggested" by her father.Eric Blom, ed. ''Everyman's Dictionary of Music'', (1946; 1954) ''s.v.'' "Fausto". A performance of the completed opera was scheduled for 1830. However, due to many unforeseen complications, ''Fausto'' did not actually reach the stage until a full year later. It was not well received and only saw three performances.
Shortly before this, Bertin became friends with Victor Hugo. Hugo himself had sketched out an operatic version of his book ''Notre-Dame de Paris'' (''The Hunchback of Notre Dame'') and between the two of them, the opera ''La Esmeralda'' was born, Hugo providing the libretto. Bertin was the only composer to have collaborated directly with Hugo on an opera. However, as the opera's run began in 1836, there were accusations against Bertin and her family, claiming she had special privileges due to her brother Armand's connection to the government's opera administration. During the seventh performance, a riot ensued and the run of ''La Esmeralda'' was forced to end, though a version of the opera continued to be performed over the next three years. The composer Hector Berlioz, who helped Bertin with the staging and production of ''La Esmeralda'', was also accused of providing the better music of this work, a charge he vehemently denied.Hector Berlioz ''Memoirs'' Chapter XLVII In frustration, Bertin refused to write any more operas. In 1837, Franz Liszt transcribed the orchestral score for solo piano (S.476), and made a piano transcription of the "Air chanté par Massol" (S.477).
Bertin did however continue to compose in many different genres. Her later compositions include twelve cantatas, six piano ballades, five chamber symphonies, a few string quartets, a piano trio (which includes themes from both her early ''Fausto'' and ''La Esmeralda''), and many vocal selections. Of these, only the ballades and the trio were published.
Bertin also wrote and published two volumes of poetry, ''Les Glanes'' in 1842 and ''Nouvelles Glanes'' in 1876. The former of these received a prize from the Académie française. Bertin died the year after the publication of ''Nouvelles Glanes''.