Colin Davis’s 1969 recording remains a landmark event, the first time this grand opera of Meyerbeerian length, spectacular éclat and Wagnerian artistic ambition had found its way complete onto LP. It effectively changed views about Berlioz the opera composer and orchestral genius and has for many remained the yardstick by which all later performances have been judged. Although studio recorded, it was based on the Covent Garden casting of the day – Jon Vickers’s heroic Aeneas and Josephine Veasey’s voluptuous Dido – with a couple of Frenchmen to boost the ranks of lesser Trojans and Carthaginians…
This imaginative staging of Berlioz's dramatic symphony for chorus, soloists and orchestra relies heavily on the moving of massed choirs across a large stage. It has vivid lighting effects–rather too many of them using strobes–and monolithic multi-purpose sets, in particular a revolving glass drum which functions both as cinema screen and rostrum for singers, so that the final ride to Hell, for example, is sung by Mephistopheles and Faust above a cavalcade of projected horses, like the inside of a zoetrope. The three main soloists have voices on a scale that can compete with these flashy production values–White and Kasarova, in particular, sing at a level of intensity that would swamp anything less; the climactic seduction trio has rarely been sung so well or with such an overpoweringly polymorphous eroticism. Cambreling marshals his forces effectively, giving full rein to the work's showstoppers like the "Hungarian March" but not neglecting the subtler less kinetic Gluckian side of Berlioz's vocal writing. (Roz Kaveney)
…This is a performance that holds your attention from first note to last–a rare feat in this work. (Munch's later Deutsche Grammophon effort pales by comparison, both sonically and interpretively.) If you want this Berlioz Requiem (and you do), SACD is the way to hear it.
The nine-time Juno-winning Canadian James Ehnes is centre stage in a new recording of orchestral works by Berlioz, with the Melbourne Symphony Orchestra conducted by Sir Andrew Davis. This recording was made following an extraordinary concert in November 2014 with the same forces, in which James Ehnes played two instruments made by Stradivarius, respectively a viola in the solo part of Harold en Italie – ‘symphony with a principal viola part’, in Berlioz’s words – and a violin in the solo of Rêverie et Caprice, both of which works feature here.
…His overwhelming natural affinity for French music made Charles Munch an ideal conductor for Berlioz’s swirling tour de force Symphonie Fantastique. Perfectly capturing the drama, romance & philosophical angst in which this masterpiece is marinated, Munch takes the Boston Symphony Orchestra on an epic journey of proportions only possible in the human heart & mind. A classic, reborn in vivid Living Stereo.
40th Anniversary Heavyweight Vinyl & Hi Res Audio Edition. Here's the edition of Ziggy Stardust everyone has been waiting for since David Bowie executed the character onstage nearly 40 years ago. Originally released through RCA Victor on June 6, 1972, Ziggy Stardust was Bowie’s fifth album, co-produced by Bowie and Ken Scott. The album eventually peaked at #5 on the UK Album Chart. Its influence is immeasurable, as it converted legions of fans, becoming the zeitgeist and a major influence on the next generation, particularly to those involved in the punk movement. Famously, Bowie killed Ziggy at his peak at London’s Hammersmith Odeon, on July 3rd, 1973. Pop music was never the same again.
John Eliot Gardiner conducts his Orchestre Revolutionnaire et Romantique through two concerts of Berlioz compositions. The 'Symphonie Fantastique' is an orchestral tour de force which is central to the repertoire of every major orchestra. It is performed here on original instruments in its original 1830s orchestration in the atmospheric old hall of the Paris Conservatoire where it was first heard. Also included is the first performance of the newly discovered 'Messe Solennelle' with the Monteverdi choir. Written when Berlioz was just 20 years old, it was thought lost until its rediscovery in 1992. The first performance of this large-scale Mass for 150 years was filmed in London's Westminster Cathedral. Gardiner's period-instrument orchestra gives characteristically idiomatic performances of these seminal works (which are also linked thematically, through Berlioz's extensive re-use of material from the Messe).
“Domingo's clarion (though stretched) Aeneas and Norman's passionate Cassandra are most memorable. Troyanos does not match Gardiner's Susan Graham, but Levine is admirably epic and provides the traditional finale.” BBC Music Magazine, October 2007 “A triumph” New York Daily