Berlioz: Harold en Italie - La mort de Cléopâtre Antoine Tamestit

• Hector Berlioz (1803-1869): Harold en Italie, Op 16 (1834)
• 1 I. Harold aux Montagnes. Scenes de melancolie, de bonheur et de joie: Adagio 15:07
• 2 II. Marche de pelerins chantant la priere du soir: Allegretto 07:59
• 3 III. Serenade d'un montagnard des Abruzzes a sa maitresse: Allegro assai 06:26
• 4 IV. Orgie de brigands. Souvenirs des scenes precedentes: Allegro frenetico 12:56
• La mort de Cléopâtre (1829)
• 5 Allegro vivace con impeto - Lento cantabile 09:36
• 6 Largo misterioso - Allegro assai agitato 11:05
• Total Runtime 01:03:09

Info zu Berlioz: Harold en Italie - La mort de Cléopâtre

Violist Antoine Tamestit and mezzo-soprano, Karen Cargill, join forces with the London Symphony Orchestra and Valery Gergiev, in the latest instalment of their Berlioz exploration.

Composed in 1834 at the suggestion of Paganini and completed in Montmartre, 'Harold en Italie' received its first performance at the Conservatoire de Paris later that year. Taking inspiration from Lord Byron’s 'Childe Harold’s Pilgrimage', 'Harold en Italie' is among the most poetic of Berlioz’s oeuvre, its ingenious use of solo viola charting the dreamy Harold’s wanderings throughout the Italian countryside and the characters encountered along the way. In this new recording Antoine Tamestit brings a forthright personality to the hero.

“Maestro Gergiev’s deep musicianship added the sort of instinctive passion one needs with Berlioz and especially with 'Harold en Italie'. All of this was overwhelmingly inspiring for me and made these concerts and recordings a truly unique and unforgettable experience,” says Tamestit. Karen Cargill gives an emotionally intense performance of the dramatic cantata for 'La mort de Cléopâtre' adding to her already formidable reputation in the Berlioz canon. She says, “La mort de Cléopâtre is a monumental work, grand in drama, orchestration and vocally challenging. The scope of the piece is huge, not only emotionally – it has a vocal range of over two octaves within only a few pages, ultimately quite operatic in delivery. Pacing the work is a huge part of performing it, allowing the character to recollect, reflect and ultimately act. The death scene is so wonderfully written, so simple and real.”

London Symphony Orchestra
Antoine Tamestit, viola
Karen Cargill, mezzo-soprano
Valery Gergiev, conductor

Keine Biografie vorhanden.

Booklet für Berlioz: Harold en Italie - La mort de Cléopâtre