New York Philharmonic; William Lincer, viola; Jennie Tourel, mezzo-soprano; Leonard Bernstein
This is the most drugged-out performance of the work that you will ever hear, and it's accompanied by a delightful spoken essay (essentially word for word the same as appears in the "Young People's Concerts") that explores the highlights of the composer's opium-induced vision. –David Hurwitz; Classicstoday.com
"Harold" is an electrifying reading that captures the raw passion of Berlioz better than any other. -Peter Gutmann
Hector Berlioz: Symphonie fantastique Op. 14; Berlioz Takes A Trip -
New York Philharmonic; Leonard Bernstein
1 CD | EAC Rip | 360 MB, 3% recovery | FLAC+LOG+Cue | Complete scans
Sony Classical SMK 60968
On this recording:
1.-5. Hector Berlioz: Symphonie fantastique, op. 14
6. "Berlioz takes a trip" Leonard Bernstein explores the Symphonie fantastique with musical
illustrations by the New York Philharmonic
This 1963 Symphonie fantastique is actually the same as Bernstein's Royal Edition performance (though in significantly finer sound), which claims to be his marginally tamer 1968 remake. In fact, this is the most drugged-out performance of the work that you will ever hear, and it's accompanied by a delightful spoken essay (essentially word for word the same as appears in the "Young People's Concerts") that explores the highlights of the composer's opium-induced vision. It's easy to see why Bernstein, in a more reflective moment, might have found some of this performance's rougher edges a bit alarming (Just listen to those tubas in the finale. Incredible!). On the other hand, in these days of authentic instruments, a little edge to the sound isn't considered such a bad thing, and all of the squeaks, grunts, and thuds that Bernstein elicits from his players have ample justification in Berlioz's revolutionary score. This truly is a great performance, one that goes straight to the top of the list alongside Charles Munch's classic Boston version (RCA). –David Hurwitz; Classicstoday.com
Hector Berlioz: Harold en Italie, Op. 16; La mort de Cléopâtre, scene lyrique
William Lincer, viola; Jennie Tourel mezzo-soprano; New York Philharmonic; Leonard Bernstein
1 CD | DPoweramp Rip | 420 MB; 3% Recovery| FLAC | Complete scans
Sony Classical SMK 60966
On this recording:
1.-4. Harold en Italie
William Lincer, viola
5.-11. La mort de Cléopâtre
Jennie Tourel mezzo-soprano
"Harold" is an electrifying reading that captures the raw passion of Berlioz better than any other.
Throwing caution to the winds, Bernstein and Linzer (the Philharmonic's first-chair violist) are rough,
edgy and incredibly exciting, eschewing entirely the refinement that passes for idiomatic Berlioz in
other hands. Inexplicably omitted from the Royal Edition, this is one of the truly great Bernstein
performances, giving Berlioz, the wild rebel of his time, his full due. It took a musician of Bernstein's
youthful boldness to defy our established tradition to restore the composer's essential spirit.
(Cleopatre, already in the Royal set, is a wonderful performance of Berlioz's early cantata.)
- by Peter Gutmann
Throwing caution to the winds, Bernstein and Linzer (the Philharmonic's first-chair violist) are rough,
edgy and incredibly exciting, eschewing entirely the refinement that passes for idiomatic Berlioz in
other hands. Inexplicably omitted from the Royal Edition, this is one of the truly great Bernstein
performances, giving Berlioz, the wild rebel of his time, his full due. It took a musician of Bernstein's
youthful boldness to defy our established tradition to restore the composer's essential spirit.
(Cleopatre, already in the Royal set, is a wonderful performance of Berlioz's early cantata.)
- by Peter Gutmann