Hector Berlioz (1803-1869)
Symphonie fantastique (1830)
Roméo et Juliette (1839)
Cesare Valetti (tenor), Rosalind Elias (mezzo-soprano), Giorgio Tozzi (bass), New England Conservatory Chorus
Boston Symphony Orchestra/Charles Munch
rec. April 1961 (Roméo et Juliette), April 1962 (Symphonie fantastique), Boston Symphony Hall, Boston, USA
RCA Victor 74321 34168 2 [2 CDs: 141]
Charles Munch had an evident affinity for Berlioz’s music. His two recordings of the Symphonie fantastique, this recording of Roméo et Juliette, and his recording of the Requiem, all on RCA, have become classics.
The earlier 1954 recording of the Symphonie fantastique seems to be better known and maybe more highly regarded than this later remake. I find slightly more excitement in the earlier recording, though the benefits of the upgraded sound here would make it difficult to choose between the two. By and large, the qualities that define the earlier recording apply to this remake too: an exciting sense of dramatic narrative, a wealth of colour, and that ideal combination of elegance and passion. I do not know that I find Munch’s way with this music quite idiomatic in that way which some suggest. For instance, I could imagine a conductor like Roger Désormière finding more authentic French colouring with The Paris Conservatory Orchestra. But that is neither here nor there, and this recording is ultimately one of the finest available.
The recording of Roméo et Juliette also has some competition in an earlier rendition by the same conductor. In this case, it is easy to recommend the current offering for upgraded sonics and a superior cast of vocalists. Cesare Valetti was a stylish light-lyric tenor, with an easy, well-produced voice. His instrument functions ideally in music such as this, steady and ringing, with good French, admirable flexibility and genuine charm. Rosalind Elias is not a big-name mezzo-soprano, but she found acclaim at the Metropolitan Opera when illustrious names still filled the performance annals. She has a well-coordinated and attractive mezzo-soprano of good quality and size. She too, is stylish and steady. Though she may not be a deeply expressive singing actress, she is perfectly at home in this music and sings with a simple unaffectedness that feels entirely apt. The bass, Giorgio Tozzi, is a better-known quantity. His velvet voice is a bonus that is hard to overlook. He was endowed with a naturally beautiful instrument, not hugely loud or imposing like Nicolai Ghiaurov’s or Cesare Siepi’s but, again, ideal for this music, where style and beauty contribute a lot to a good performance.
Munch’s conducting is, again, of equally fine quality, perfectly paced and full of ardour. The sensuous love music and the opening to Part II Roméo seul is some of the most beautiful music Berlioz ever wrote. It is caressed with a gorgeous tone by Munch and the Boston Symphony. Ralph Moore seems similarly convinced of this recording’s merits in his survey of the work’s discography. I also agree with his praise of the excellent recording by Lorin Maazel with another set of fine soloists – Christa Ludwig and Nicolai Ghiaurov are both superb – though I would not be able to choose between the two.
The sound on this release is very good, clear and well-balanced if lacking just a touch of the atmosphere you find in some sections of Maazel’s Roméo. The coupling of these great recordings is very welcome.
Morgan Burroughs
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