Search - Hector Berlioz, Charles Dutoit, Montréal Symphony Orchestra :: Berlioz: 8 Overtures - Le Carnaval

Revolutionary Music- non-revolutionary performances

rjm | maryland | 08/29/2004

(3 out of 5 stars)

"Because of the positive reviews of this album on this site I decided to purchase this CD and was disappointed with the lack of fire and enthusiasm in the performances. To be sure, Dutoit led the Montreal Symphony in technically assured playing; but the manic extremes and quirky flights of fancy, essential elements of Berlioz' style and character, were missing. Proactive reviewers take note- if Sony could be persuaded to reissue the blazing virtuosic performances by the New York Philharmonic and Pierre Boulez I could unquestionably recommend that album above others currently available. Until that eagerly awaited day, you may wish to consider the Munch performances of the Roman Carnival and Beatrice and Benedict overtures coupled with his fine performance with the Boston Symphony of the Symphonie Fantastique or the Solti recording of Les Francs-juges overture or the Levine recording of Le Corsaire, Roman Carnival, and Benvenuto Cellini overtures with a performace of the Requiem included as well."

Fair to Midland

D. B. Rathbun | Washington, DC United States | 05/17/2000

(5 out of 5 stars)

"This disc represents a significant addition to the existing Berlioz discography. It includes works spanning Berlioz's creative life, including his very first (real) work, the Francs-juges overture, all the way to some of his last, and the best of his overtures from in between. Not that he changed that much, but it's all interesting music nonetheless. The orchestral playing is good, and at times excellent. The recording is excellent, although perhaps a bit lumpy in the Corsaire. Overall it is well balanced, and captures the swimmy acoustics of the Montreal hall, yet every detail is nicely audible and elegant. Well worth it."

Dramatic Berlioz Overtures

Brett A. Kniess | Madison, WI | 04/24/2000

(4 out of 5 stars)

"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."