Composer: Hector Berlioz
Works: Symphonie fantastique, Op. 14; Love Scene from Roméo et Juliette
Performers: Cincinnati Symphony Orchestra; Paavo Järvi, conductor
Recording: Recorded in Music Hall, Cincinnati, Ohio on October 8th-10th, 2000
Label: TELARC DSD CD-80578
Hector Berlioz’s Symphonie fantastique stands as a cornerstone of the Romantic orchestral repertoire, heralding a new approach to programmatic music that intertwines emotional narrative with innovative orchestration. This 2001 release marks Paavo Järvi’s inaugural recording as Music Director of the Cincinnati Symphony Orchestra, a significant moment for both Järvi and the ensemble. Known for his dynamic interpretations and keen insight, Järvi approaches Berlioz’s sprawling narrative with both reverence and ambition, aiming to carve out a distinctive interpretation amidst the plethora of existing recordings.
The performance of Symphonie fantastique showcases Järvi’s meticulous preparation and deep engagement with the score. From the outset, the orchestral sound possesses a remarkable depth, yet there are moments where the resonance might overshadow the clarity of instrumental lines, suggesting a slight excess in the recorded ambiance. This is particularly evident in the first movement, where the visionary nature of Berlioz’s idiosyncratic orchestration demands precision and clarity. Järvi’s handling of the idée fixe is commendable; it is both restless and scrupulously shaped, capturing the obsessive yearning that characterizes the protagonist’s journey. The Scène aux champs, a pivotal moment in the symphony, emerges with a flowing lyricism that reveals Järvi’s understanding of Berlioz’s idiom, particularly in the fragmented conclusion that hints at the protagonist’s fraught mental state.
Järvi’s interpretive choices throughout the symphony reflect a balanced approach that respects Berlioz’s intent while injecting a sense of urgency. The Bal, with its elegant Schubertian echoes, is executed with a suave touch, demonstrating the conductor’s ability to evoke nuanced textures from the orchestra. Conversely, the climactic Witches’ Sabbath finds Järvi harnessing the drama effectively, creating a vivid narrative that, while powerful, lacks some of the hallucinatory fervor that has become a hallmark of more recent interpretations, such as those by Sir Colin Davis. Comparisons with Davis’s LSO Live recording reveal a stark difference in emotional immersion and textural clarity, suggesting that Järvi’s interpretation, while technically proficient, does not fully inhabit the surreal landscape that Berlioz so vividly painted.
The coupling of the Love Scene from Roméo et Juliette provides a welcome contrast, where Järvi’s theatrical sensibility shines. The performance exudes an intimacy that captures the delicate intricacies of Berlioz’s writing, concluding with a poignant suspension that lingers in the air. Here, the engineering is particularly effective, allowing the subtleties of the orchestration to emerge clearly, providing a lovely counterpoint to the more tumultuous symphony. However, when placed beside the complete Roméo et Juliette conducted by Cambreling or Davis’s interpretations, Järvi’s reading, while commendable, appears less compelling in terms of emotional depth.
This recording represents an earnest yet cautious endeavor by Järvi and the Cincinnati Symphony Orchestra. While it offers many intriguing moments and exemplifies a solid grasp of the orchestral score, it ultimately does not transport the listener into the hallucinatory realm that Berlioz’s music so often evokes. Enthusiasts of Berlioz may find value in Järvi’s interpretation, particularly for its clarity and orchestral cohesion, yet for those seeking a truly immersive experience, other recordings may provide a more authentic engagement with the composer’s visionary landscape.
