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Hector Berlioz
BENVENUTO CELLINI

Benvenuto Cellini – Burkhard Fritz
Teresa – Maija Kovalevska
Fieramosca – Laurent Naouri
Giacomo Balducci – Brindley Sherratt
Pope Clemens VII – Mikhail Petrenko
Ascanio – Kate Aldrich
Francesco – Xavier Mas
Bernardino – Roberto Tagliavini
Pompeo – Adam Plachetka
Innkeeper – Sung-Keun Park

Vienna State Opera Chorus
Vienna Philharmonic Orchestra
Valery Gergiev, conductor

Philipp Stölzl, stage director and stage designer
Kathi Maurer, costume design
Duane Schuler, lighting design
Mara Kurotschka, choreographer

Filmed at the Großes Festspielhaus, Salzburg, 5, 10 and 15 August 2007.

Picture format: NTSC 19:9
Sound format: Dolby Digital 2.0 / Dolby Surround 5.0 / DTS 5.0
Region code: 0 (worldwide)
Subtitles: English, French
Running time: 164 mins
No. of DVDs: 1 (DVD 9)

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BERLIOZ Benvenuto Cellini • Valery Gergiev, cond; Burkhard Fritz ( Cellini ); Maija Kovaleska ( Teresa ); Laurent Naouri ( Fieramosca ); Kate Aldrich ( Ascanio ); Brindley Sherratt ( Balducci ); Mikhail Petrenko ( Pope Clement VII ); Vienna State Op Ch; Vienna PO • NAXOS 2.110271 (DVD: 163:35) Live: Salzburg 8/5-10-15/2007


This is an eye-popping extravaganza in which stage business keeps pace with, and too often trumps, Berlioz’s most coruscatingly vibrant and scintillantly compelling score. Cellini appears in a helicopter at the rooftop porch of Balducci’s penthouse, framed against the New York skyline; robots help Teresa with her toilet (including shaving her armpits) as Maija Kovaleska delivers herself of her big aria with virtuosic aplomb; Ascanio, too, is a robot—Kate Aldrich deliciously does her “Tra-la-la” aria with head removed (at stage level); Pompeo is a pimp, and hookers are a significant portion of the Mardi Gras crowd; the wheedling Asian innkeeper brandishes an assault rifle; and so on. The animation of static moments—in terms of staging—is clever, entertaining, and often riveting. The Mardi Gras itself is a credibly incredible triumph of garish color, comic incident, choreographically turned hurlyburly, and drama. Even those who care little for Berlioz’s music will find themselves entranced by the spectacle, while those with some regard for the composer may be alternately delighted and appalled. Berlioz’s conception of the artist as a romantic hero is a major casualty. As Cellini, Burkhard Fritz is in heroic voice and magnificent swagger but portrays his man as a gangster; while, between Mardi Gras and his appearance at his atelier, the director has foisted upon him a gratuitous wound, allowing the camera to make much of his pained expressions and bloodied clothes. Why? Pompeo’s blustering aria, boasting his fencing prowess, has been transferred to Fieramosca, which makes no sense whatever as the latter is—and is played throughout to great comic effect by Laurent Naouri—a sneaking pantywaist. English subtitles render maîtres ciseleurs as “master engravers,” a literal translation that ignores Berlioz’s usage to mean master goldsmiths while making nonsense of the Dionysian hymn he lavished upon Cellini’s foundrymen. We never see the Perseus , the statue Cellini’s been commissioned to cast, instead, the mold he threatens to destroy as Pope Clement rebukes him is a picayune Winged Victory of Samothrace —another disturbing dissonance between Berlioz’s straightforward dramatic narrative and director Philipp Stölzl’s pointless, would-be-clever dinking. Within the often silly parameters just outlined, vocally and histrionically this production is beyond all praise. Valery Gergiev’s direction is surefire, though others—Sir Colin Davis, Sir Roger Norrington—have found deeper resonance through significant portions of the score, while the never less than virtuosic Vienna Philharmonic is massive where Berlioz is lean and sinewy. Nevertheless, one comes to the end stunned, thrilled, and viscerally moved. As the cast took richly deserved bows, I, alone in my hovel, stood and cheered! Naxos’s surround sound lets no detail of this teeming, overfull, overrich score escape, delivering all with overwhelming punch. Despite all caveats, highest recommendation.


FANFARE: Adrian Corleonis

Berlioz: Harold en Italie Les Nuit D'ete - 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'ete, Berlioz pioneered - well before Mahler and Ravel - the 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 Francois-Xavier Roth and Les Siecles feature violist Tabea Zimmermann and vocalist Stephane Degout, heard here in the composer's own version of Les Nuits d'ete for baritone.

In conjunction with the Orchestra's 30th Anniversary Season, Music Director Nicholas McGegan and Philharmonia Baroque Orchestra announce the launch of the ensemble's own recording label, Philharmonia Baroque Productions. The label's début release showcases the late Lorraine Hunt Lieberson in a live 1995 recording of Berlioz's Les Nuits d été and a live 1991 recording of arias from Handel's Giulio Cesare, Ottone, Arianna, Radamisto, and Agrippina. Hunt Lieberson had a long and fruitful relationship with McGegan and Philharmonia Baroque. The Berlioz is the last of seven acclaimed recordings she made with the orchestra and the first time she ever sang the full Berlioz song cycle in performance. Lorraine was in her element, and the result was splendid. These incredibly moving performances are now available to a wide audience for the first time.

It was whilst on the verge of loving despair that Hector Berlioz wrote this Symphonie Fantastique, épisode de la vie d'un artiste (episode from the life of an artist) where he portrays the obsession of this impossible love and the torture it inflicts upon the young man who has almost gone mad. It was first performed in December 1830 and immediately became the emblem of the musical avant-garde, making use of an unheard of soundscape which drove the audience into a frenzy which had never before been known for an orchestral work in France. Revived here by the great Sir John Eliot Gardiner, the concert is filled with symbolic works by the composer with the spendid overture from the Corsaire, and the cantata, La Mort de Cléopâtre. And finally, two mythical extracts from the great work by Berlioz, his opera, Les Troyens.

“ ... [Davis] on fine form here with the Bergen Philharmonic. The opening to the Corsaire holds no terrors for them ... The lesser-known overtures reveal their virtues well. Davis, abetted by an excellent recording, responds vividly to Berlioz’s pioneering orchestral textures...” - John Warrack – International Record Review – February 2013

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The Bergen Philharmonic Orchestra under Sir Andrew Davis here perform seven dazzling orchestral overtures by Hector Berlioz, a composer who excelled in blending literary and musical elements into highly energetic and personal creations.

The overtures are widely varied in mood, as are the operas from which they were drawn. Berlioz wrote his first large-scale instrumental composition, the Overture to Les Francs-juges, in 1826, the year in which he enrolled at the Paris Conservatoire. Even though the opera itself was never performed, Berlioz remained proudly affectionate of the overture, which was played all over Germany and Holland in its early days. His second opera, Benvenuto Cellini, followed in 1838; its music gave rise both to the opera’s overture and to the concert overture Le Carnaval romain which depicts its subject in brilliant colour through breathtakingly vibrant orchestration.

The comic opera Béatrice et Bénédict took its inspiration from Shakespeare’s Much Ado about Nothing. The overture draws on an intense solo scene for Béatrice and adds elements of the cheerful banter that make up the story of the title characters’ playful courtship.

When Berlioz visited the Hungarian capital Pest in 1846, it was suggested to him that one way of winning the hearts of the audiences there would be to make an arrangement of the beloved Rákóczy March, which up until that point had been known only as a piano piece. Berlioz agreed, and on the very night before he left for Pest, he put together his own orchestral version of the piece. It was a resounding success when performed at his first concert, to the extent that Berlioz promptly included it in the large work on which he was working at the time: La Damnation de Faust.

Le Roi Lear, Le Corsaire, and Waverley have one thing in common: all are independent concert pieces that have been given the title overture as in many respects they do resemble opera overtures – but none is in actual fact connected to an opera. The composer here took his inspiration from literary works. Le Roi Lear, for instance, is a remarkable tone portrait of Shakespeare’s deranged king, full of energy and anger, while Le Corsaire may be loosely based on Byron’s The Corsair. Berlioz based Waverley on a novel of the same name by Sir Walter Scott, and the score bears a quotation in English: ‘Dreams of love and Lady’s charms, give place to honour and to arms.’ The contrast expressed so well in this simple quotation is equally evident in the music itself. Here the ‘dreams of love’ unfold in a long cello melody, which is repeated with richer orchestrations, before leading into the vigorous musical depiction of ‘honour and arms’. - Chandos

Berlioz wrote his own text for L'Enfance du Christ, which he composed in 1853 and 1854. It was first performed at the Salle Herz, Paris on 10 December 1854, with Berlioz conducting. He described the work as a Trilogie sacrée. The first of it's three sections depicts King Herod ordering the massacre of all newborn children in Judaea; the second shows Mary, Joseph, and Jesus setting out for Egypt to avoid the slaughter, having been warned by angels; and the final section portrays their arrival in the Egyptian town of Saïs where they are given refuge by a family of Ishmaelites. Berlioz was not religious as an adult but remained all his life susceptible to the beauty of the religious music that had enraptured him as a child. Sir Andrew Davis conducts the Melbourne Symphony Orchestra and MSO Chorus and an outstanding team of soloists in this Surround Sound SACD recording.

The Fantaisie sur la Tempete de Shakespeare was composed shortly after Berlioz had won the coveted Prix de Rome (at the fourth attempt) with his cantata Sardanapale, and was originally conceived as a concert overture, with chorus. After various reworkings of the material, the four-movement Fantaisie, as recorded here, became the finale of Berlioz’s ‘monodrama’ Lelio- a juxtaposition of existing material interlinked with dramatic monologues recited by the ‘artist’ at the center of the work. Symphonie fantastique, Berlioz’s best-known work by some distance, remains an evergreen in the orchestral repertoire, and beloved of audiences the world over. The idiomatic approach to orchestration, grounded in Berlioz’s musical training in French provincial wind-bands, and the revolutionary approach to the prevailing conventions of musical form at the time shine through in the five-movement masterpiece, which remains one of the most vividly programmatic symphonies ever written. This recording was made after a pair of performances in September 2018 in the Roy Thomson Hall in Toronto, and is made in Surround Sound.

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REVIEW:

You might not think the world needs another reading of the Symphonie fantastique, but Davis' ease with the orchestra enables him to pull off a number of unusual orchestral effects. The real find here is the Fantaisie sur La Tempète de Shakespeare (Fantasy on Shakespeare's The Tempest). It is a charming collection of delicate orchestral displays complete with a choir singing words from The Tempest, or something like them, in Italian. The Toronto Mendelssohn Choir achieves special grace here, and this little performance is worth the price of admission.

– All Music Guide (James Manheim)

The principal champion pre-Colin Davis of Hector Berlioz's neglected 19th c. masterpiece Les Troyens was Rafael Kubelík. This Milan 1960 recording - now back in the catalog - is a remarkable sound document. The sound is basic; there are cuts; and it's in Italian rather than the original French. But it also makes for electrifying listening. Kubelík conducts with intensity and dignity. Featuring a cast that includes Mario Del Monaco, Giulietta Simionato and the under-represented on disc Nell Rankin, it's essential listening for anyone with an interest in Berlioz. - The Guardian, 2012.

Some of Boulez's finest Berlioz performances are gathered together in this very welcome compendium. Symphonie fantastique is given a terrifyingly formidable performance.

Some of Boulez's finest Berlioz performances are gathered together in this very welcome compendium. Not the least of the pleasures is the association of the Symphonic Fantastique with its pendant Lelio: they are not a required coupling, of course, but there is a special pleasure in hearing the unforgettable tones of Jean-Louis Barrault (he who once memorably played Berlioz on film) as he revives after the drug-induced nightmare. Barrault speaks so beautifully that the ramshackle concoction of some very mixed inspirations becomes a rich Berliozian experience. The symphony is given a formidable performance, terrifyingly formidable in the measured tread of the "March to the Scaffold", somewhat too much so where the waltz should charm, even if ironically, and making a morose landscape of the "Scene aux champs". But it is a sustained and valid performance which does not seek to make the work into a vehicle for personal virtuosity (as in different ways so many conductors have done), and conjures up Berlioz's dark romantic vision.

As can be seen, the Nuits d'ete songs are shared. Berlioz first wrote them for mezzo-soprano or tenor and piano, then rewriting them to some extent and transposing the first three for the orchestral vision, probably because he then had particular singers in mind or each song. Boulez keeps to the orchestral version of the key sequence (which not all do) and divides them equally between male and female voices. So Stuart Burrows sings a fresh. lively "Villanelle", and this is followed by Yvonne Minton's richly phrased "Spectre de la rose" and "Sur les lagunes" (in which she takes, successfully, the option of a low F). Burrows returns for "Absence", which he sings admirably, though without stifling regrets that this of all songs might have suited Minton and the mezzo-soprano timbre (many will remember Janet Baker here). He also sings "Au cimetiere", leaving Minton to finish the cycle off with her warm performance of "L'ile inconnue". There can be no question or an authentic version when Berlioz left so many options open; this is a compromise, and even if one may have other preferences, it works well. Yvonne Minton goes on to show not only a fine voice but fine musicianship as she sustains Boulez in holding La mort de Cleopatre together so well. Berliozians will recognize one or two familiar ideas in this remarkable piece. notably one that was to serve again in Benvenuto Cellini, whose overture is given a sharp, vigorous performance here.

-- Gramophone [3/1995]