Berlioz: 8 Overtures - Le Carnaval Romain,etc.

Hector Berlioz (Composer), Charles Dutoit (Conductor), Montréal Symphony Orchestra (Orchestra) | Format: Audio CD

Product Details

• Orchestra: Montréal Symphony Orchestra
• Conductor: Charles Dutoit
• Composer: Hector Berlioz
• Audio CD (November 11, 1997)
• Number of Discs: 1
• Label: Decca
• ASIN: B0000042EX
• In-Print Editions: MP3 Download
• Average Customer Review: 4.2 out of 5 stars  See all reviews (5 customer reviews)
• Amazon Best Sellers Rank: #181,017 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

1 of 1 people found the following review helpful:

4.0 out of 5 stars Dutoit isn't passionate enough, but the sonics and execution are fine, October 7, 2005

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Santa Fe Listener (Santa Fe, NM USA) - See all my reviews
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This review is from: Berlioz: 8 Overtures - Le Carnaval Romain,etc. (Audio CD)

Even in a market glutted with duplications, there are surprisingly few first-rate collections of Berlioz overtures, the leading ones being classics by chalres Munch and the younger (not the older) Colin Davis. It's a shame that Leonard Bernstein, an unparalleled Berlioz conductor, or James Levine, who rises to the same exciting level, never did a survey of these riveting works. As for this CD from Dutoit, I'm happy to say that it's more than a space filler. The sound is considerably better than what Munch and Davis received -- Sony BMG really should remaster the edgy, thin sonics of the Munch -- and Dutoit manages some degree of excitement. As a conductor of Berlioz he has two besetting faults: a lack of real passion and a tendency to gloss over passages that cry out for concentration and drama.

Those flaws are present here but only intermittently. Roman Carnival doesn't erupt with fireworks at th beginning as it should. Benevenuto Cellini has lost his swagger. Le corsaire begins with a thrill, but we soon get a weekend sailor instead of a buccaneer. To really enjoy this collection, you must have a taste for Gallic elegance first and foremost; the fervent Romanticism of Berlioz isn't presented in person but viewed from a seat at a sidewalk cafe. That's good enough for a place-keeper while we await a really inspired album.

1 of 1 people found the following review helpful:

4.0 out of 5 stars Dramatic Berlioz Overtures, April 24, 2000

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Brett A. Kniess (Madison, WI) - See all my reviews

This review is from: Berlioz: 8 Overtures - Le Carnaval Romain,etc. (Audio CD)

Hector Berlioz had a knack for writing dramatic and expressive music; his legacy composing operas is evident of that. Unfortunately, Berlioz had a poor self image and never could enjoy success. In his time, he was not nessecarily France's favorite son, but won more acclaim in the teutonic-speaking countries. His natural approach to drama is seen in the eight overtures presented on this disk; and like Mendelssohn's overtures, some are associated with an opera or stage work, while others are stand-alone concert works; today, all of these overtures are concert miniature masterpieces all on their own, full of life and drama.

Almost all of the overtures here feature a mold: A brisk, short introduction of the main motive, followed by a slow first section (usually lyric in nature), and concluding with a second fast section which uses the material from the brief introduction. Two overtures were written for the opera Benvenuto Cellini; the name-sake overture and the more famous Roman Carnival Overture. The Benvenuto Cellini overture sounds like it was written by an Italian; it drips with olive oil. The slow opening is written in the Italian "singing style" with a romantic, sweeping love song (also explored in extreme low tessitura with bassoon, bass clarinet, and cello). The quicker section, while a bit chromatic, also sings like an Italian melody as well. The Roman Carnival overture, the more famous of the two, was a second overture written for the opera. The slow rustic melody at the beginning is quaint, but doesn't last long. A saltarello, tarantella, or some sort of snappy Italian dance (with prominent tambourine) swiftly takes over. Towards the end, Berlioz's forward-looking and brilliant dabblings with unusual harmonic progressions give the wild carnival its vivacity; a brilliant overture. The Beatrice et Benedict overture, is meant for an opera based on Shakespeare's Much Ado About Nothing. A slow, melancholy procession is a mere prelude to the quicker second section; a bouncy theme with a slight dance attitude attached, is slightly tipsy, and an undercurrent of motion propels the music forward. The comedy of the libretto is greatly portrayed with charm. The overture to the opera Les Francs-Juges, has duel moods competing: a serious and heavy brass section announced in the slow opening and recurring throughout; and a happy-go-lucky, classically balanced melody lifting the previous serious mood. Berlioz's gloomiest overture has to be The Trojans in Carthage, depicting the city of Troy having been sacked by the Greeks. The layout is unique in that it has no contrasting fast section; instead a unison wind and brass melody sings throughout, while the strings provide harmony and motion to the work.

Waverly is an overture not associated with a stage work by Berlioz; instead it is based on a selection from writings by Sir Walter Scott (known for Rob Roy, also a Berlioz overture, not on this disk). A gorgeous cello melody envelops the opening, a great showcase for Berlioz's superior melodic writing. The quicker section seems classical at first, with a bubbling perpetual motion and a bouncy, almost humorous melody. While the melodies are classically balanced, the harmonies and orchestrations are all inventive Romantic traits of Berlioz. The King Lear overture is rather different from his other overtures: it is more a character portrait of the Shakespeare character than a plot overture. The King is shown, in the slow opening, with unison violas and cellos, as well as with horn calls. Berlioz shifts into what seems a gentle Landler folk-feel before the agitated fast section. The complex tonicizations and duple vs. triple feelings, give the King the mad and deranged mood associated with him; at times angry and other times softened, this seems more a symphonic poem. The last overture is The Corsair, based on Byron's writings, a tale of pirates, this is a showstopper along the lines of the Roman Carnival. A short quiet chorale opens the work, but a virtuoso whirlwind of scalular strings, rhythmic woodwinds, and wanton brass is a nice closer to the CD.

The Montreal Symphony Orchestra under Charles Dutoit does pretty well here. Special kudos to the great brass playing. I think the only thing missing, or to pick apart, is that the strings need more warmth, or weight, or greater articulate attacks. However, overall, the London label sound is dynamic; the hall perhaps a little too spacious, but only noticeable here and there. The balance is good; occasional forward wind solos seem out of place, but again, only in a place or two. The interpretation is pretty straight-forward, relying on Berlioz's own markings to carry the expressiveness, which work well under Dutoit. This 75-minute disk is often compared to the digital RCA Sir Colin Davis recording (which does not have Trojans), Davis probably has the slighter edge, as he is considered the Berlioz expert, and the attack is forthright under him. However, at 75 minutes and eight overtures (only missing Rob Roy, try Naxos), excellent sound, and a good performance; a nice choice here.

5 of 7 people found the following review helpful:

5.0 out of 5 stars Berlioz Overtures, January 2, 2004

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Robert E. Nylund (Ft. Wayne, Indiana United States) - See all my reviews
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This review is from: Berlioz: 8 Overtures - Le Carnaval Romain,etc. (Audio CD)

Here is a wonderful collection of the marvelously innovative, richly orchestrated overtures of Hector Berlioz (1803-1869), expertly and sensitively performed by the Montreal Symphony Orchestra, under its longtime music director Charles Dutoit. (According to the Montreal Symphony's official website, Dutoit led the orchestra from 1977 until April 2002, when he resigned. The orchestra's management planned to announce a new music director in the spring of 2004.)

During his long tenure in Montreal, Dutoit had his share of successes, both in concerts and in recordings. This London/Decca CD may be one of his best recordings. He certainly demonstrates his command of the challenging music of Berlioz, who was one of the pioneers in nineteenth century Romanticism, along with Franz Liszt and Richard Wagner. (All three composers knew each other, even if neither Berlioz or Liszt enjoyed the best of friendship with the egocentric, bigoted Wagner.)

It is amazing what Berlioz achieved early in his career, while Beethoven and Schubert were still alive, with such forward-looking works as the "Waverly" concert overture. Berlioz quickly demonstrated his abilities as a composer of memorable melodies, tricky rhythms, and colorful orchestrations. That was apparent from the beginning, as "Waverly," first published work, demonstrates.

The CD actually begins with the popular "Roman Carnival" overture, a dazzling and delightful recollection of Berlioz's extended stay in Italy. It was actually written for his opera "Benvenuto Cellini," but Berlioz decided to write another overture for that work. (That reminds me of Beethoven, who actually wrote FOUR overtures for his only opera, "Fidelio." Perhaps Berlioz was not satisfied with his first overture.) Both overtures are included on this CD. It has always amazed this writer how the overture to "Benvenuto Cellini" begins, with very tricky, syncopated rhythms, leading to some of the more melodies included in the opera.

"Beatrice and Benedict" was a late work (premiered in 1862) and, while not as innovative as Berlioz's earlier works, it is still a very delightful comic opera (rare for Berlioz). The overture is light and lively. It is given a spirited, almost jubilant performance by the Montereal musicians.

"King Lear" was one of the earliest overtures written for a Shakespeare play. Berlioz manages to capture so much of the emotion and drama of this great tragic work. The performance is absolutely brilliant.

Less familiar is the overture to the neglected, incomplete opera "The French Judges." This is a work that is very dramatic and very beautiful. There is a very jubilant theme that recurs during the second half of the overture; Dutoit leads a truly
wonderful performance.

The overture to "The Trojans" gives only a glimpse of Berlioz's longest and most epic opera. Yet it is definitely a wonderful treat, as is the concert march that Berlioz later extracted from the opera, near the end of his life. (The march is best represented in a 1959 EMI stereo recording by Sir Thomas Beecham and the Royal Philharmonic Orchestra.)

Finally, there's the devilishly delightful "Le Corsaire" concert overture. This is particularly fun to hear and Dutoit's recording rivals another marvelous late recording by Beecham.

Overall, the eight overtures included in this 1997 recording are quite enjoyable, well performed, and brilliantly recorded by Decca. It is definitely a high mark in Dutoit's career and a fine tribute to the Montreal orchestra.