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Les Troyens

Berlioz’s greatest, most grandiose opera is full of drama, weird and wonderful orchestrations and vocal magic.

Recommended recording:
Ben Heppner, Michelle DeYoung, Petra Lang, Sara Mingardo, Peter Mattei, Stephen Milling, Kenneth Tarver, LSO & Chorus/Colin Davis
LSO Live LSO0010

https://open.spotify.com/embed/album/77h7EMsE8fLfwUvKZIA2ym

 

 

Symphonie fantastique

Music’s first great tone poem is an advanced work, considering it was written only three years after Beethoven’s death.

Recommended recording:
London Classical Players/Roger Norrington
Virgin 628 5792

https://open.spotify.com/embed/album/4dHYelHzD8MFpGN1QJGqDs

 

 

Grande Messe des morts

Berlioz wasn’t much of a believer, but this 80-minute belter certainly God-fearing – 16 timpani, four antiphonal brass bands, more than 100 strings and 100 voices.

Recommended recording:
Peter Schreier, Bavarian Radio Symphony Orchestra/Charles Munch
DG 477 7561

https://open.spotify.com/embed/album/6qOjoDOMew9n9oLmH21re6

 

 

Nuits d’été

This attractive song cycle, setting the poetry of Gautier, originally written for baritone or mezzo and piano, has since been rearranged for soprano and orchestra.

Recommended recording:
Régine Crespin (soprano), L’Orchestre de la Suisse Romande/Ernest Ansermet
Decca 475 712

https://open.spotify.com/embed/album/1wAQtboQtay46yY4BwV0z0

 

 

La damnation de Faust

Setting Goethe’s poem Faust, this large-scale oratorio is written for orchestra,
solo voices and chorus.

Recommended recording:
Janet Baker, Nicolai Gedda, Paris Opéra Chorus, Orchestre de Paris & LSO/Prêtre & Gibson
EMI 381 4932

https://open.spotify.com/embed/album/1zkKSUUebgCl7YJ0cGuX0j

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