Berlioz reviews
El Nour (Fatma Said)
Berlioz: Benvenuto Cellini
Nuits
Turnage: Concerto for Two Violins & Orchestra (Shadow Walker); Berlioz: Symphonie fantastique
Valery Gergiev at the Proms: Rachmaninov; Ravel; R Strauss; Ustvolskaya & Berlioz
Berlioz: Requiem
Berlioz: Harold in Italy; La Captive; plus works by Weber and Martini
French Arias
Berlioz: Grande Messe des Morts
Berlioz: Symphonie fantastique
Berlioz: Harold in Italy; Les Nuits d’été
Berlioz: Roméo et Juliette
Une soirée chez Berlioz
Berlioz: Messe Solennelle
Berlioz: Symphonie fantastique, etc
Benjamin Bernheim
'Mirages' - Arias & songs sung by Sabine Devieilhe and friends
The concept of cultural appropriation was mercifully unknown to the composers of 19th-century France. We can therefore sit back and enjoy their daydreams in Mirages, compiled around visions of faraway or imaginary lands and people, dominated by Oriental exoticism. Sabine Devieilhe’s voice is shown off to stunning effect as she and her colleagues bring together the (sometimes) kitschier side of eastern longings and the lingering influence of such sounds on more intriguing music.
Accentus performs Schubert's Nacht & Träume: Lieder with orchestra
One of the loveliest ways for composers to show their admiration for their predecessors is through arrangements. This recording unites a wide selection of orchestral arrangements of some of Schubert’s best-loved songs. |
John Nelson gives an experienced interpretation of Berlioz's Les Troyens
The best recordings of Berlioz's L'enfance du Christ
The best recordings of Berlioz's Symphonie Fantastique
Watch Berlioz's Symphonie fantastique unfold in a performance conducted by Emmanuel Krivine
Performing Berlioz’s Symphonie fantastique on period instruments was regarded as a radical, if not downright potty idea when Roger Norrington made his pioneering 1989 recording. As soon became clear, though, this colourful, arch-Romantic fantasy is fertile territory for historically informed performance. Berlioz’s orchestral imagination is as precisely nuanced as the scenario is wildly febrile, his wide palette and expanded instrumental resources ensuring the differences of timbre and practice are readily apparent.
Oh, Boy! Arias by Gluck-Berlioz, Meyerbeer, Mozart, Offenbach, Thomas, Hahn, Gounod, Massenet & Chabrier sung by Marianne Crebassa
In little more than a decade Marianne Crebassa has established herself in the first rank of a new generation of mezzo-sopranos. A former Paris Opera young artist, she sings at Salzburg and Berlin as well as in Paris, and has already made her American debut in Chicago.