Hector Berlioz: Symphonie Fantastique; Herminie/ Minkowski/ Les Musiciens du Louvre

HECTOR BERLIOZ
Symphonie fantastique
Herminie*

Aurélia Legay *
Mahler Chamber Orchestra
Les Musiciens du Louvre
Marc Minkowski

The playing from the Musiciens du Louvre is consistently exquisite, revealing textures and instrumental lines in a new light . . . There's a fresh excitement and beautiful romanticism in this live recording. Outstanding, colourful phrasing, articulation, dynamics -- all produce a disc of rare energy and drama. A pure adrenalin rush.

. . . exciting new live recording . . . The playing from the Musiciens du Louvre is consistently exquisite, revealing textures and instrumental fines in a new light . . .
There's a fresh excitement and beautiful romanticism in this live recording. Outstanding, colourful phrasing, articulation, dynamics ¿ all produce a disc of rare energy and drama. A pure adrenalin rush.
Record Review / Oliver Condy, Classic FM (London) / 01. August 2003

Marc Minkowski has the gift for paying literal attention to Berlioz's detailed markings without falling into the trap of mere literalism: that is to say, he understands what Berlioz was asking for, and has an instinct for bringing to life the unexpected emphases, the sudden swerves of rubato, the unusual balance of textures.
Record Review / John Warrack, International Record Review (London) / 01. October 2003

"Herminie" . . . comes across as the suspenseful balance of academic formulae and genuine passion that, as a "prix de Rome" cantata by Berlioz, it is ¿ whipped up and dressed down with a crisp flair agilely crowned by Aurélia Legay's . . . bright soprano.
Record Review / Adrian Corleonis, Fanfare (Tenafly, NJ) / 01. July 2004

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A characterful Symphonie fantastique and a dramatic reading of Herminie that draws the ear to moments which prefigure Les troyens.

Recorded live, this characterful version of the Symphonie fantastique breaks new ground in bringing together the talented performers of the Mahler Chamber Orchestra, using modern instruments, and wind-players from Marc Minkowski’s period orchestra, Les Musiciens du Louvre. Not that I would have noticed; there is no discrepancy between the two groups, and Minkowski, period specialist though he is, takes an unashamedly romantic view of Berlioz, generally preferring spacious speeds, strikingly different from Gardiner or Norrington in their period performances.

The dynamics of a live occasion have their own part to play, especially in the excitement of the final ‘Witches’ Sabbath’. Some listeners will find themselves jumping up to change volume levels, such is the dynamic range of DG’s all-embracing recording.

Aurélia Legay’s dramatic reading of Herminie makes an apt coupling: Berlioz uses the theme which later became the idée fixe of the symphony at key points in Herminie, including the work’s opening and its gentle close. It says much for both Legay’s warm, focused soprano and for Minkowski’s direction that the ear is drawn to moments which prefigure his supreme achievement, Les troyens.

Edward Greenfield, Gramophone