Customer Reviews

Berlioz: Symphonie Fantastique / Harold in Italy / 5 Overtures

5 star:		(2)
4 star:		(0)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

I can't believe this 2x CD set has been largely ignored in favor for period instrument performances. What is there not to like about these performances? The rendition of Berlioz's Symphonie fantastique by Bernstein/ORTF, while not necessarily the definitive Davis/Concertgebouw recording (though I question the true worth of the Davis recording), certainly does not deserve the neglect. The fiery passion that Bernstein coaxes from the French orchestra is not something you experience in every performance of this music. Bernstein takes a slower and more weighty/romantic approach to the Symphonie as opposed to Davis's somewhat lighter and faster interpretation, but who is to say which one is correct? Also, this set includes 6 other Berlioz orchestral works, some of which are performed by Previn and the London Symphony Orchestra. I am not familiar with these other works, so I cannot compare them to other performances. I will say, however, that I enjoyed these performances as well even though I bought the set mainly for the Symphonie fantastique. The Bernstein/ORTF performance is worthy to be issued on its own, but EMI's 2CD-for-the-price-of-1 format makes this set even more desirable. Check these performances out...you will find much to like in them.

It's the nature of bargain two-fers that they rarely contain first-choice performances, but this one comes very close. Bernstein made three versions of the Symphonie fantastique, this one being the last, the most French (thanks to the Orchestre nationale de france), and the most intense, given his later propensity to milk eveyr phrase for maximum effect. Bernstein's Harold in Italy with the ORTF is likewise more Gallic and more intense than his early version on Sony with the NY Phil., and in almost every way it's better--too bad the violist is a bit colorless. Finally, there's a generous proram of miscellaneous overtures from Andre Previn in his salad days with the London Symphony. His approach is a bit stolid--one misses the volatility of Munch and the elegance of Colin Davis--but each reading is never less than very good.

In all, the reviewer below who is shocked that this set has been overlooked is right. I don't know of a better Berlioz bargain on the market.

Leonard Bernstein made many fine recordings, but this is not one of them. The bells in the Witches' Sabbath are really ugly...almost dissonant and way too high in notes. Too bad they didn't use bells that more closely resembled funeral tolls. And the March to the Scaffold, my favorite part of the Symphonie, sounds terrible. The Ball is okay. Overall, the whole thing sounds like Bernstein set out to make this recording sound unique. I have not heard Bernstein's earlier attempt at the Fantastique, but they say that it was much better. Previn and the LSO do a good job with Harold in Italy and the Overtures.