Composed in 1824 by Hector Berlioz at the age of twenty-one and premiered at the church of Saint-Roch in Paris in 1825, the Messe solennelle has come down to us following an eventful history. After Berlioz declared that he had destroyed the score, the mass was considered lost until it was rediscovered in Antwerp in 1992. This remarkable work helps us both to appreciate the development of Berlioz's style- already revolutionary in his early years- and to understand what he owed to his contemporaries, notably Cherubini, whose monumental Requiem Herve Niquet has already recorded. Scored for three soloists, chorus, and orchestra, the work consists of thirteen movements, material from which Berlioz was to reuse in several later works, notably in the Scene aux champs of the Symphonie fantastique, which quotes the 'Gratias.' On the occasion of the 150th anniversary of Berlioz's death, Herve Niquet, fascinated by this work- "There's nothing he doesn't know about dramaturgy and vocal style. At the age of twenty!"- decided to programme it (the concert at the famous Berlioz Festival of La Cote Saint-Andre was a memorable occasion) and record it in the Chapelle Royale of the Chateau de Versailles.

Through the eye of French director Laurent Pelly this expression of Berlioz's undying admiration for the Bard - his adaptation of Much Ado about Nothing as an opera comique - becomes ''an elegant treatise on love and music designed in shades of grey with 50's-era costumes'' (Sunday Express). Housed by designer Barbara de Limburg in a series of oversized boxes, it's ''terribly chic, terribly pretty'' (The Spectator). Soaring over the ''warmly graceful playing of the London Philharmonic'', Paul Appleby sings ''attractively'' as Benedict and Stephanie d'Oustrac ''makes a marvellously wiry and fiery Beatrice, singing with charm and acting with gusto'' (The Telegraph).

-----

REVIEW:

Antonello Manacorda is a natural-sounding guide to the stage events shown here. His cast sound and work together naturally. Stéphanie D’Oustrac (an expressive face to enjoy in close-up) and Paul Appleby (carefully less histrionic in duet) spar well. The Ursule of Katarina Bradic´ is quite a find, more comfortable with notes and character than Sophie Karthäuser’s Héro, accurate but less ethereal than ideal. The men do well, although Lionel Lhote’s effortful Somarone the music-master, falling everywhere on a sliding table in Act 2, will not be to everyone’s comic taste—but that may be Berlioz’s fault in falling (for once) for the cliché that audiences have always seemed to find onstage musical jokes especially hysterical.

Despite some reservations, this only official DVD to date of such an important opera, well recorded and filmed in a slick modern production, deserves a place in the catalogue and on your shelves.

– Gramophone

Also available on standard DVD

With his affinity for the 16th-century sculptor Benvenuto Cellini’s advocacy of artistic and personal freedom, Hector Berlioz went straight for the grand gesture with his first completed opera. Returning to it years after initial production debacles, Berlioz stated that he would ‘never again find such verve and Cellinian impetuosity, nor such a variety of ideas.’ The plot revolves around Cellini’s wooing of Teresa, a match frustrated at every opportunity by his rival, the cowardly Fieramosca. Benvenuto Cellini is a pithy work combining romance, excitement, violence, comedy and spectacle; the perfect stage for Terry Gilliam’s stylishly colorful and larger than life directing.

-----

DETAILS:

Format: NTSC
Language: French
Subtitles: English, French, German, Japanese, Korean
Dubbed: None
Region: All Regions
Aspect Ratio: 1.78:1
Run Time: 180 minutes

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Hector Berlioz
LES TROYENS

Énée – Lance Ryan
Chorèbe – Gabriele Viviani
Panthée – Giorgio Giuseppini
Narbal – Stephen Milling
Iopas – Eric Cutler
Ascagne – Oksana Shilova
Cassandre – Elisabete Matos
Didon – Daniele Barcellona
Anna – Zlata Bulycheva

Valencia Regional Government Choir (Cor de la Generalitat Valenciana)
Valencian Community Orchestra (Orquestra de la Comunitat Valenciana)
Valery Gergiev, conductor

La Fura dels Baus, staging
Carlus Padrissa, stage director
Ronald Olbeter, stage designer
Peter van Praet, lighting designer
Chu Uroz, costume designer

Recorded live from the Palau de les Arts “Reina Sofia”, Valencia, Spain, 2009.

Bonus:
- The making of Les Troyens

Picture format: 1080p High Definition
Sound format: DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Subtitles: French, English, German, Spanish, Chinese, Korean
Booklet notes: English, German, French
Running time: 240 mins (opera) + 21 mins (documentary)
No. of Discs: 2

"Ancient myth meets Star Wars, and the eye is constantly engaged with images ranging from space-age technology to details of soccer uniforms." The New York Times

"This is a worthy and compelling, glittering version of a sublime work." International Herald Tribune

Also available on Blu-ray

Hector Berlioz
LES TROYENS

Énée – Lance Ryan
Chorèbe – Gabriele Viviani
Panthée – Giorgio Giuseppini
Narbal – Stephen Milling
Iopas – Eric Cutler
Ascagne – Oksana Shilova
Cassandre – Elisabete Matos
Didon – Daniele Barcellona
Anna – Zlata Bulycheva

Valencia Regional Government Choir (Cor de la Generalitat Valenciana)
Valencian Community Orchestra (Orquestra de la Comunitat Valenciana)
Valery Gergiev, conductor

La Fura dels Baus, staging
Carlus Padrissa, stage director
Ronald Olbeter, stage designer
Peter van Praet, lighting designer
Chu Uroz, costume designer

Recorded live from the Palau de les Arts “Reina Sofia”, Valencia, Spain, 2009.

Bonus:
- The making of Les Troyens

Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles: French, English, German, Spanish, Chinese, Korean
Booklet notes: English, German, French
Running time: 240 mins (opera) + 21 mins (documentary)
No. of DVDs: 2 (DVD 9)

"Ancient myth meets Star Wars, and the eye is constantly engaged with images ranging from space-age technology to details of soccer uniforms." The New York Times

"This is a worthy and compelling, glittering version of a sublime work." International Herald Tribune

SOMM Recordings continues it's much-admired and long-running series The Beecham Collection with it's 35th release of live recordings by Sir Thomas Beecham and the Royal Philharmonic Orchestra. The recording highlights the operatic side of Beecham with orchestral excerpts from Les Troyens and La Damnation de Faust by Hector Berlioz, and Tannhäuser, Parsifal, Götterdämmerung, and Die Meistersinger von Nürnberg by Richard Wagner. Producer and audio engineer Lani Spahr, whose work for SOMM on Elgar from the Archives has been described by Gramophone Magazine as "astounding" and "revelatory," is once again responsible for the audio restoration on this release. The professional debut of Sir Thomas Beecham, Bart., C.H. took place on 6 December 1899 in St Helen's Town Hall when he was twenty years old. He conducted the Hungarian March from La Damnation de Faust by Berlioz with the Hallé Orchestra, and the music of Berlioz was to become one of the cornerstones of his repertoire for the next six decades. This present recording of the Hungarian March is a gloriously uninhibited performance that brought the house down at the end of a 1955 concert at the Royal Festival Hall. That concert also included two excerpts from Les Troyens by Berlioz. The Prelude to The Trojans at Carthage is followed by The Royal Hunt and Storm, with the Oxford Bach Choir providing the brief choral contribution from Nymphs, Sylvans, and Fauns. These performances are remarkable for their atmospheric poetry in the slower sections and the rampaging energy in the faster music. During the same year as his professional debut, a young Beecham made his pilgrimage to Bayreuth, and he became an enthusiastic, instinctual conductor of Wagner's music. The renowned music critic Neville Cardus once noted that, while German conductors tended to take a reflective and philosophical approach in interpreting Wagner, Sir Thomas concentrated on the dramatic and picturesque parts of the music. This concentration on colour and drama makes his conducting of the orchestral extracts included on this release both satisfying and full of character. These four orchestral excerpts were recorded at the Royal Festival Hall on 17 December 1958. The concert opened with the Overture and Venusberg Music from Tannhäuser; for decades one of Beecham's warhorses as a concert opener. Orchestral excerpts from Parsifal appeared regularly on Beecham's concert programmes, and this 1958 concert featured the Good Friday Music. Beecham conducted a number of Ring cycles during his career, and his affinity with the music shines through in this recording of Siegfried's Rhine Journey from Götterdämmerung. This release closes with the Prelude to Act One of Die Meistersinger, about which the review in the Daily Telegraph said, "the thickly overlaid texture of the overture can seldom have been given with such golden clarity."

London Symphony Orchestra/Sir Colin Davis. Philips 416 430-2 [Overtures: Roman Carnival, Benvenuto Cellini, Le corsaire, Le roi Lear, Les francs-juges, Waverly] (recorded 1965).

Davis and the London Symphony get a strong nod for Berlioz’s overtures, which they perform with great panache and striking brilliance and beauty of tone. The recording, considering its age almost miraculously fresh sounding, is impeccably detailed and well balanced. – Ted Libbey, author of The NPR Guide to Building a Classical CD Collection.

Immensely influential, the remarkable Symphonie fantastique was composed while Hector Berlioz was suffering an intense and unreciprocated passion for the Irish actress Harriet Smithson. Its autobiographical tale describes a young musician’s opium-poisoned nightmares of jealous despair and fatal justice following the murder of his beloved. Berlioz wrote a second movement cornet solo into a subsequent revision of the score, here included as an optional extra. He wed his sweetheart actress but, recuperating in Nice, wrote Le corsaire after the final break-up of their marriage.

"Berlioz, to me, in terms of sheer orchestral invention, anticipates Mahler. If anything, he even surpasses him. So these are some of the things that characterise Berlioz: the extremes, the dynamics, the sound, the colours of the orchestra. Ravel was more about homogenisation. And I mean that in an entirely positive sense, because he’s taking the orchestral palette and really thinking very carefully about the essence of instrumental sonorities and how they go together." – Leonard Slatkin

“[Ehnes] is the protagonist in this all-Berlioz programme, but the disc is equally distinguished by the lucid, exhilarating, smoothly contoured playing of the Melbourne Symphony Orchestra under that experienced Berliozian Sir Andrew Davis.” - The Daily Telegraph (UK)

-----

The nine-time Juno-winning Canadian James Ehnes is centre stage in a new recording of orchestral works by Berlioz, with the Melbourne Symphony Orchestra conducted by Sir Andrew Davis. This recording was made following an extraordinary concert in November 2014 with the same forces, in which James Ehnes played two instruments made by Stradivarius, respectively a viola in the solo part of Harold en Italie – ‘symphony with a principal viola part’, in Berlioz’s words – and a violin in the solo of Rêverie et Caprice, both of which works feature here.

Berlioz was never ashamed to recycle his music from one work to another, especially when the earlier work had been rejected by the public or by the composer himself. In 1834, Paganini asked Berlioz for a work in which he could display his prowess on a fine Stradivarius viola. Berlioz then composed the four-movement symphony Harold en Italie, incorporating passages from the Rob-Roy overture which he had recently rejected.

Similarly, Rêverie et Caprice was the form eventually given to an aria from the opera Benvenuto Cellini, unceremoniously booed in Paris in 1838. Berlioz transformed the aria into a piece with solo violin three years later. It is the only piece Berlioz ever wrote for solo violin. - Chandos

Digital CD 16Bit 44.1Khz and originally recorded in: 24Bit 96Khz.

Of all Berlioz's Shakespeare-inspired works, Romeo et Juliette is unquestionably his masterpiece. It is also cast in an innovative new form, a kind of 'super-symphony' that incorporates elements of symphony, opera and oratorio. Berlioz composed no singing roles for the central characters, but allowed others to comment or narrate, giving latitude to incarnate the lovers in a musical language of extraordinary delicacy and passion. The vivid 'Ball Scene' and 'Romeo at the Capulet tomb' are intensely dramatic but the heart of the work is the 'Love Scene,' a long symphonic poem which Richard Wagner called 'the melody of the 19th century.'