Confronted with this piece, what can one do (apart from try to conserve some voice for Mahler 8 later in the week)? I’ve said enough<\/a> about it in the past, so I needn’t spend much time describing it. It seemed an appropriate moment to affirm French culture, at a time<\/a> when it was under attack.<\/p>\n If I attempt to say what was special about this performance (in which the tenor was Robert Murray) I risk disparaging others I’ve taken part in. I haven’t sung for Edward Gardner before, but I hope that some time I shall do so again. When I last heard him at ENO he was conducting Wozzeck<\/a>, another radical and brilliantly orchestrated piece with outbreaks of hysteria, and his interpretation of the Berlioz brought out these qualities. This approach is fine by me! In particular, I was able this time to be a part of the very carefully controlled climaxes he was able to build up.<\/p>\n Reviews: Confronted with this piece, what can one do (apart from try to conserve some voice for Mahler 8 later in the week)? I’ve said enough about it in the past, so I needn’t spend much time describing it. It seemed … Continue reading
\nSeen and Heard International<\/i><\/a>
\nGuardian<\/i><\/a>
\nBachtrack<\/i><\/a> <\/p>\n","protected":false},"excerpt":{"rendered":"