Berlioz Carnevale Romano

The ensemble Aedes began it's musical journey with Poulenc, under the impetus of conductor Mathieu Romano. Here, at the head of Les Siècles, Romano returns to the unclassifiable composer to record two of his major works. In the pious contemplation of the Litanies, here performed in the manuscript version, and the orchestral luxuriance of the Stabat Mater, spirituality is expressed through music that is lively, sensitive and even, at times, sensuous. Sculpting out every phrase and note, always at the service of the text, the ensemble and Mathieu Romano confirm their affinity with the composer's language. As an interlude Mathieu Romano has included a secular piece, O doulx regard, o parler gratieux, by the Renaissance composer Clément Janequin. The boundaries between earthly love and mystical love are thus abolished in favor of pure emotion.

The Grosses Festpielhaus in Salzburg has been the scene of countless memorable musical events - operas, concerts and recitals - for 50 years. Here is a unique chance to celebrate the glories of this distinguished era. In an exceptional collaboration with the Salzburg Festival, we have prepared a 25-CD box set - 5 complete operas, 10 concerts and 2 recitals - featuring many of the world's greatest artists, in recordings with classical status and others that are appearing on CD for the first time. Concerts (five out of ten are first-time releases): with Abbado, Bernstein, B hm, Boulez, Karajan, Levine, Mehta, Muti, Solti. Soloists include Anne-Sophie Mutter and Jessye Norman.

…There are some thrilling moments in a well-paced interpretation, it’s Colin Davis who takes top honours with a brilliant account of Harold in Italy, probably Berlioz at his most eccentric in those sudden outbursts - something he started back in 1830 with the Symphonie fantastique, and there are many points in the first movement when one could seamlessly pass into that work. The fine violist Nobuko Imai is a wistful Harold.

Continuing Warner Classics’ multiple-award-winning Berlioz cycle (Les Troyens, La Damnation de Faust) with conductor John Nelson and the Orchestre philharmonique de Strasbourg. Berlioz’s orchestral song cycle on a libretto by Théophile Gautier, Les Nuits d’été, is sung by superstar (bari)tenor Michael Spyres. This is the first ever recording of the original 1856 version by one single voice – Michael Spyres sings with a bass, tenor and baritone voice. Featuring the young British viola player Timothy Ridout in Berlioz’s Harold en  Italie.

Admirers of Colin Davis' legendary Berlioz performances know that his 1974 recording of Symphonie fantastique was an outstanding LP in the Philips catalog, and that it has been reissued several times since on CD, each time to renewed praise. Davis is almost ideal for this work, which is precariously balanced on the knife edge between Classicism and Romanticism; few other conductors have the intellect and temperament to control the Apollonian and Dionysian impulses in Berlioz, and the sympathy for both the elegant and grotesque aspects so evident in this revolutionary masterpiece.

Maestro Dutoit and his orchestra really make Berlioz' orchestral showpiece glow in all of its colorful splendour, but with enough tenderness and warm lyricism in the more reflective, dreamy parts. But 'Un bal' really sways and swaggers with appropriate grandiloquence. The 'Scene aux champs' is played wonderfully poised and concentrated, but with a lot of warmth as well, helped of course by the mellifluous, wonderfully blended tone of the orchestra.

…There are some thrilling moments in a well-paced interpretation, it’s Colin Davis who takes top honours with a brilliant account of Harold in Italy, probably Berlioz at his most eccentric in those sudden outbursts - something he started back in 1830 with the Symphonie fantastique, and there are many points in the first movement when one could seamlessly pass into that work. The fine violist Nobuko Imai is a wistful Harold.

Admirers of Colin Davis' legendary Berlioz performances know that his 1974 recording of Symphonie fantastique was an outstanding LP in the Philips catalog, and that it has been reissued several times since on CD, each time to renewed praise. Davis is almost ideal for this work, which is precariously balanced on the knife edge between Classicism and Romanticism; few other conductors have the intellect and temperament to control the Apollonian and Dionysian impulses in Berlioz, and the sympathy for both the elegant and grotesque aspects so evident in this revolutionary masterpiece.

Tout le monde devrait connaitre certaines oeuvres classiques. Les requiems de Mozart ou de de Saint Sens en font parti, à mes yeux.

A new aesthetic calls for new forms: such is the challenge the composer set for himself in the two works presented here. In Les Nuits d’été, Berlioz pioneered, well before Mahler and Ravel, a song cycle for voice and orchestra. In Harold in Italy, scored for large orchestra and solo viola, he experimented with the symphonic genre. These period-instrument performances by Les Siècles, led by François-Xavier Roth, with violist Tabea Zimmermann, also feature Stéphane Degout in the vocal cycle, heard here in the composer’s own version for baritone. File under: out of the ordinary.