1834 rev. 1850

Ballade `Sara la Baigneuse` for choir and orchestra, op. 11 (H  69) (Berlioz)
The St. Anthony Singers. Recorded: 1967, London.
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1. Recit. Quel trouble te poursuit
2. Air Ah! Si de la tendresse
3. Recit. Que dis-je?
4. Air Arrete! Arrete! Cher Tankrede -
5. Rec. Que Clorinde est heureuse!
6. Air Venez venez terribles armes!
7. Priere `Dieu des chretiens? -
8. Venez venez terribles armes!

Cantata `Herminie` (1828), H  29 (Berlioz)
Recorded: March 1979, London.
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Text by Pierre-Ange Vieillard de Boismartin

1. C`en est donc fait
2. Ah! qu`ils sont loin
3. Meditation Grands Pharaons
4. Non!...non de vos demeures funebres
5. Dieux du Nil

Text

`C`en est donc fait ! ma honte est assurée.
Veuve d`Antoine et veuve de César
Au pouvoir d`Octave livrée
Je n`ai pu captiver son farouche regard.
J`étais vaincue et suis déshonorée.
En vain pour ranimer l`éclat de mes attraits
J`ai profané le deuil d`un funeste veuvage ;
En vain en vain de l`art épuisant les secrets
J`ai caché sous des fleurs les fers de l`esclavage;
Rien n`a pu du vainqueur désarmer les décrets.
A ses pieds j`ai traîné mes grandeurs opprimées.
Mes pleurs même ont coulé sur ses mains répandus
Et la fille des Ptolémées
A subi l`affront des refus !
Ah ! qu`ils sont loin ces jours tourment de ma mémoire
Où sur le sein des mers comparable à Vénus
D`Antoine et de César réfléchissant la gloire
J`apparus triomphante aux rives du Cydnus !
Actium m`a livrée au vainqueur qui me brave ;
Mon sceptre mes trésors ont passé dans ses mains ;
Ma beauté me restait et les mépris d`Octave
Pour me vaincre ont fait plus que le fer des Romains.
Ah! qu`ils sont loin ces jours etc.
Mes pleurs même ont coulé sur ses mains répandus
J`ai subi l`affront des refus.
Moi !... qui du sein des mers comparable à Vénus
M`élançai triomphante aux rives du Cydnus !
Au comble des revers qu`aurais-je encore à craindre ?
Reine coupable que dis-tu ?
Du destin qui m`accable est-ce à moi de me plaindre ?
Ai-je pour l`accuser les droits de la vertu ?
J`ai d`un époux déshonoré la vie.
C`est par moi qu`aux Romains l`Égypte est asservie
Et que d`Isis l`ancien culte est détruit.
Quel asile chercher ? Sans parents ! sans patrie !
Il n`en est plus pour moi que l`éternelle nuit !
Grands Pharaons nobles Lagides
Verrez-vous entrer sans courroux
Pour dormir dans vos pyramides
Une reine indigne de vous ?
Non !... non de vos demeures funèbres
Je profanerais la splendeur !
Rois encor au sein des ténèbres
Vous me fuiriez avec horreur.
Du destin qui m`accable est-ce à moi de me plaindre ?
Ai-je pour l`accuser le droit de la vertu ?
Par moi nos dieux ont fui d`Alexandrie
Et d`Isis le culte est détruit.
Grands Pharaons nobles Lagides
Vous me fuiriez avec horreur!
Du destin qui m`accable est-ce à moi de me plaindre ?
Ai-je pour l`accuser le droit de la vertu ?
Grands Pharaons nobles Lagides
Verrez-vous entrer sans courroux
Pour dormir dans vos pyramides
Une reine indigne de vous ?
Non j`ai d`un époux déshonoré la vie.
Sa cendre est sous mes yeux son ombre me poursuit.
C`est par moi qu`aux Romains l`Égypte est asservie.
Par moi nos dieux ont fui les murs d`Alexandrie
Et d`Isis le culte est détruit.
Osiris proscrit ma couronne.
À Typhon je livre mes jours !
Contre l`horreur qui m`environne
Un vil reptile est mon recours.
Dieux du Nil... vous m`avez... trahie !
Octave... m`attend... à son char.
Cléopâtre en... quittant... la vie
Redevient digne de... César !`

Cléopâtre, scène lyrique for soprano and orchestra (1829), H  36 (Berlioz)
March 1979, London.
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Cléopâtre, scène lyrique for soprano and orchestra (1829), H  36 (Berlioz)
Anne Pashley - soprano. Recorded in 1967, London.
      (1)

1. Marche funèbre
2. Oraison funèbre
3. Apothéose

Grande symphonie funèbre et triomphale (1840), op. 15 (Berlioz)
June 1969.
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Act I
After ten years of siege the Greeks have departed from Troy leaving behind a giant wooden horse as an offering to Pallas Athena. Only the prophetess Cassandra daughter of the Trojan king Priam wonders about the significance of their enemies disappearance. In a vision she has seen her dead brother Hectors ghost walking the ramparts. She has tried to warn her father of impending disaster and now urges her fiancé Coroebus to flee the city but neither man will listen to her. When Coroebus begs her to join the peace celebrations she tells him that she foresees death for both of them.

The Trojans offer thanks to the gods. Hectors widow Andromache brings her young son the heir to the throne before King Priam and Queen Hecuba. The warrior Aeneas arrives and reports that the priest Laocoön is dead. Suspecting the wooden horse to be some kind of a trick Laocoön had thrown his spear at it and urged the crowd to set fire to it when two giant sea serpents appeared and devoured him and his two sons. Priam and Aeneas order the horse to be brought into the city to beg pardon of Athena. Cassandra realizes that this will be the end of Troy.

Act II
Aeneas is visited by the ghost of Hector who tells him to escape the city. His destiny he says is to found a new empire that someday will rule the world. As the ghost disappears Aeneass friend Panthus runs in with news that the Greek soldiers who emerged from the horse are destroying the city. Aeneas rushes off to lead the defense.

The Trojan women pray for deliverance from the invaders. Cassandra prophesizes that Aeneas and some of the Trojans will escape to Italy to build a citya new Troy. Coroebus has fallen and Cassandra prepares for her own death. She asks the women if they will submit to rape and enslavement. When Greek soldiers enter the women collectively commit suicide. Aeneas and his men escape with the treasures of Troy.

Act III
Carthage North Africa. The people greet their queen Dido. In the seven years since they fled their native Tyre following the murder of Didos husband they have built a flourishing new kingdom. Didos sister Anna suggests that Carthage needs a king and assures her sister that she will love again. Visitors are announced who have narrowly escaped shipwreck in a recent stormthey are the remaining survivors of the Trojan army with Aeneas among them. Dido welcomes them. When news arrives that the Numidian ruler Iarbas is about to attack Carthage Aeneas identifies himself and offers to fight alongside the Carthaginians. Dido accepts and Aeneas rallies the united forces of Carthage and Troy entrusting his son Ascanius to the queens care.

Act IV
Aeneas has returned victorious to Carthage. During a royal hunt he and Dido seek shelter from a storm in a cave. They discover their love for each other.

It is several months later. Narbal the queens adviser is worried that since Dido fell in love with Aeneas she has been neglecting her duties. He fears that in welcoming the Trojan strangers Carthage has invited its own doom. Dido enters with Aeneas and her court to watch an entertainment of singing and dancing. She asks Aeneas to tell her more about Troys last days. When he talks about Andromache Hectors widow who married Pyrrhus one of the enemy Dido sees a parallel to her own situation. Alone she and Aeneas again proclaim their love as the god Mercury reminds Aeneas of his duty and destinationItaly.

Act V
At night in the Trojan camp by the harbor a young sailor sings a homesick ballad. Panthus and the Trojan captains are worried about omens and apparitions that remind them of their failure to move on. Aeneas enters torn between his love for Dido and his duty to leave Carthage. He makes up his mind to see the queen one last time. But when the ghosts of Priam Hector Coroebus and Cassandra appear urging him to leave he orders his men to set sail before sunrise. Dido appears. Aeneas swears that he loves her but must leave her. She curses him. As dawn breaks the queen asks her sister to persuade Aeneas to stay but the Trojan ships are already on their way out to sea. Furious Dido orders a pyre built to burn his gifts and remembrances of their love. Now resolved to end her life she bids farewell to Carthage and everything she held dear.

The pyre has been set up. Priests pray for Dido who predicts that her fate will be remembered a future Carthaginian general Hannibal will avenge her against Italy one day. Then she stabs herself with Aeneass sword. Dying she has a vision of Carthage destroyed by eternal Rome. As the Roman Capitol is seen like a vision in the distance the Carthaginians curse Aeneas and his descendants.

Opera dilogy `Les Troyens` (1856-58), H133 (Berlioz)
Live - 1972 - Royal Opera House, Covent Garden, London - In English - Jon Vickers (Enee), Janet Baker (Didon), Josephine Veasey (Cassandre), Richard van Allan (Panthee), Stafford Dean (Narbal), Francis Egerton (Iopas), Derek Blackwell (Hylas) - Chorus of the Royal Opera
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Opera dilogy `Les Troyens` (1856-58), H133 (Berlioz)
Part I: `La prise de Troie`. Enée - Jon Vickers, Chorèbe - Peter Glossop, Panthée - Anthony Raffell, Priam - Pierre Thau, Hecuba - Elizabeth Bainbridge, Cassandre - Berit Lindholm, Roger Soyer - Shade of Hector. October 1969, London.
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Opera dilogy `Les Troyens` (1856-58), H133 (Berlioz)
Part II: `Les Troyens à Carthage`. Didon - Josephine Veasey, Anna - Heather Begg, Enée - Jon Vickers, Panthée - Anthony Raffell, Narbal - Roger Soyer, Iopas - Ian Partridge, Hylas - Ryland Davies, Ascagne - Anne Howells, Mercury - Pierre Thau. October 1969, London.
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Opera dilogy `Les Troyens` (1856-58), H133 (Berlioz)
Thomas Bernard - tenor. Live - December 2000 - with Sara Mingardo, Peter Mattei, Tigran Martirossian, Stephen Milling, Toby Spence, Roderick Earle - London Symphony Chorus
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Opera dilogy `Les Troyens` (1856-58), H133 (Berlioz)
Live - 30 September 1969 - Royal Opera House, Covent Garden, London - Janet Baker (Didon - sings in English), Anja Silja (Cassandre), Jon Vickers (Enee), Peter Glossop (Chorebe), Anthony Raffell (Panthee), Michael Langdon (Norbal), Ian Partridge (Iopas), Ryland Davies (Hylas), Heather Begg (Anna) - Chorus of the Royal Opera House
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Opera dilogy `Les Troyens` (arias, fragments),  (Berlioz)
`Les Troyens`: 1) Chasse royale et orage - Pantomime - 9:35; 2) Marche pour l`entree de la reine - 1:24; 3) Ballets: a) Pas de Almees - 4:17; b) Danse des esclaves - 4:21; c) Pas d`esclaves nubiennes - 1:22. October 1969, Orchestra of the Royal Opera House, Covent Garden.
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Opera `Béatrice et Bénédict` (1862), H138 (Berlioz)
Béatrice - Janet Baker, Bénédict - Robert Tear, Don Pedro - Robert Lloyd, Leonato - Richard Van Allan, Héro - Christiane Eda-Pierre, Ursule - Helen Watts, Claudio - Thomas Allen, Somarone - Jules Bastin. Recorded in 1977.
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Opera `Béatrice et Bénédict` (1862), H138 (Berlioz)
Béatrice - Joyce DiDonato, Bénédict - Charles Workman, Héro - Nathalie Manfrino, Ursule - Elodie Méchain, Claudio - Jean-François Lapointe, Somarone - Jean-Philippe Lafont, Don Pedro - Nicolas Cavallier, Léonato - Christophe Fel. Recorded: February 7, 2009, Paris (live).
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Opera `Béatrice et Bénédict` (1862), H138 (Berlioz)
Hero] – April Cantelo, Ursula – Helen Watts, Benedict – John Mitchinson, Claudio – John Cameron, Don Pedro – John Shirley-Quirk, Somarone – Eric Shilling. St. Anthony Singers. 1962-63.
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Opera `Beatrice and Benedict` (overtures, arias, fragments),  (Berlioz)
Recorded: December 1977, London.
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Opera `Beatrice and Benedict` (overtures, arias, fragments),  (Berlioz)
6/8 June 2000 - Overture
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Opera `Benvenuto Cellini` (1838), op. 23 (H 76a) (Berlioz)
Benvenuto Cellini - Nicolai Gedda, Balducci - Jules Bastin, Fieramosca - Robert Massard, Le Pape Clément VII - Roger Soyer, Francesco - Derek Blackwell, Bernadino - Robert Lloyd, Pompeo - Raimund Herincx, Teresa - Christiane Eda-Pierre, Cabaretier - Hugues Cuénod, Ascanio - Jane Berbié. Recorded: July 1972, London.
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Overture `King Lear` (1831), op.  4 (H 53) (Berlioz)
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Overture `Le Corsaire` (1846-51), op. 21 (H 101) (Berlioz)
Recorded: October 1965, London.
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Overture `Les Francs-juges` (1826), op.  3 (H 23a) (Berlioz)
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Overture `Les Francs-juges` (1826), op.  3 (H 23a) (Berlioz)
27/28 September 2006
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Overture `Les Francs-juges` (1826), op.  3 (H 23a) (Berlioz)
1966
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Overture `Roman Carnival` (1844), op.  9 (H 95) (Berlioz)
Recorded: October 1965, London.
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Overture `Waverly` (1827-28), op.  1 bis (H 26) (Berlioz)
Recorded: Walthamstow Assembly Hall, London, United Kingdom, October 1965.
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1. Requiem aeternam Andante un poco lento
2. Te decet hymnus Andante un poco lento
3. Dies irae Moderato
4. Tuba mirum Andante maestoso
5. Quid sum miser Andante un poco lento
6. Rex tremendae Andante maestoso
7. Quaerens me Andante sostenuto
8. Lacrymosa Andante non troppo lento
9. Domine Jesu Christe Moderato
10.Hostias et preces Andante non troppo lento
11.Sanctus Andante un poco sostenuto e maestoso
12.Hosanna in excelsis Allegro non troppo
13.Sanctus Andante sostenuto
14.Hosanna in excelsis Allegro non troppo
15.Agnus Dei Andante un poco lento

Requiem  for tenor, choir and orchestra (1837), op.  5 (Berlioz)
Keith Lewis, tenor; Bavarian Radio Choir; Bavarian Radio Symphony Orchestra; Sir Colin Davis - conductor. Rec. live June 1989.
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Requiem  for tenor, choir and orchestra (1837), op.  5 (Berlioz)
June 2012 - Barry Banks (tenor)
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Requiem  for tenor, choir and orchestra (1837), op.  5 (Berlioz)
1970 - with Wandswoth School Boys` Choir, London Symphony Chorus
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LENFANCE DU CHRST

Sacred Trilogy `The Childhood of Christ` (1853-54), op. 25 (Berlioz)
Recorded: December 2-3, 2006, London.
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Sacred Trilogy `The Childhood of Christ` (1853-54), op. 25 (Berlioz)
Marie - Janet Baker, Joseph - Thomas Allen, Récitant - Eric Tappy, Hérode - Jules Bastin, Père de famille - Joseph Rouleau, Centurion - Philip Langridge, Polydorus - Raimund Henricx. Chorus master - John Alldis. Recorded: October 1976, London.
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Sacred Trilogy `The Childhood of Christ` (1853-54), op. 25 (Berlioz)
Mary – Elsie Morison, Centurion – Edgar Fleet, Narrator - Peter Pears, Joseph – John Cameron, Herod and Housholder – Joseph Rouleau, Polydorus - John Frost. The St. Anthony Singers. Goldsbrough Orchestra. Early 1960`s.
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1. Méditation religieuse H 56B G major
2. La mort dOphélie ballade H 92B A♭ major
3. Marche funèbre pour la dernière scène dHamlet H 103 A minor

Song Cycle `Tristia`, op. 18, H 119 (Berlioz)
¹ 3 (`Marche funèbre pour la dernière scène d’Hamlet`). John Alldis Choir. June 1969.
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Song Cycle `Tristia`, op. 18, H 119 (Berlioz)
1) Méditation religieuse; 2) La Mort d`Ophélie. The St. Anthony Singers. Recorded in 1967, London.
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Song Cycle `Tristia`, op. 18, H 119 (Berlioz)
July 1973 - Complete - with John Alldis Choir
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Épisode de la vie dun artiste symphonie fantastique en cinq parties

1. Rêveries - Passions
2. Un bal
3. Scène aux champs
4. Marche au supplice
5. Songe dune nuit de sabbat

Symphonie fantastique (1830), op. 14 (Berlioz)
Recorded: January 9-10, 1974, Amsterdam.
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Symphonie fantastique (1830), op. 14 (Berlioz)
Recorded: September 29-30, 2000, London.
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Symphonie fantastique (1830), op. 14 (Berlioz)
Recorded: May 1963, London.
      (6)

Symphonie fantastique (1830), op. 14 (Berlioz)
Studio recording at Grosser Saal, Musikverein, Vienna, November 1990.
      (1)

1. Harold in the Mountains. Scenes of melancholy happiness and joy
2. Procession of Pilgrims singing the evening hymn
3. Serenade of an Abruzzi-mountaineer to his sweetheart
4. The Brigand`s Orgies. Reminiscences of the preceding scenes

`Harold in Italy` - symphony for Viola and Orchestra (1834), op. 16 (Berlioz)
Recorded: May 1975, London.
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`Harold in Italy` - symphony for Viola and Orchestra (1834), op. 16 (Berlioz)
Yehudi Menuhin - viola. Recorded: 16, 22-23 October 1962, Kingsway Hall, London.
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Heavens! I am still alive! Lelio
I. The Fisherman
Strange... Lelio
II. Chorus of the Shades
O Shakespeare! Lelio
III. Brigand`s Song
How my spirit wanders... Lelio
IV. Song of Bliss
Oh why cannot... Lelio
V. Aeolian Harp. Recollections
But why abandon... Lelio
VI. Fantasie on Shakespeare`s `Tempest`

`Lélio, ou le retour à la vie`, monodrame lyrique for narrator, tenor, baritone, chorus and orchestra (1831/1855), op. 14b (Berlioz)
Roy Jowitt - clarinet, Renata Scheffel-Stein - harp. Recorded: July 1980, London.
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`La Damnation de Faust` (arias & fragments),  (Berlioz)
`La Damnation de Faust`: 1) Menuet des folles; 2) Marche hongroise. Recorded: July 1973, London.
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`La Damnation de Faust` - Dramatic Legend for Soloists, Chorus and Orchestra (1846), op. 24 (Berlioz)
Faust - Nicolai Gedda, Mephistopheles - Jules Bastin, Marguerite - Josephine Veasey, Brander - Richard van Allan, Voix Celeste - Gillian Knight. London Symphony Orchestra Choir. Ambrosian Singers. Wandswoeth School Boy`s Choir. July 1973, London.
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`Roméo et Juliette`, symphonie dramatique for chorus, soloists and orchestra (1839), op. 17 (Berlioz)
London Symphony Chorus. Recorded: April 1968.
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`Roméo et Juliette`, symphonie dramatique for chorus, soloists and orchestra (1839), op. 17 (Berlioz)
1996
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`Roméo et Juliette`, symphonie dramatique for chorus, soloists and orchestra (1839), op. 17 (Berlioz)
Recorded live at the Barbican Centre, January 11 and 13, 2000.
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1. Te Deum Hymne
2. Tibi omnes Hymne
3. Prélude
4. Dignare Prière
5. Christe Rex gloriae Hymne
6. Te ergo quaesumus Hymne
7. Judex crederis Hymne et Prière
8. Marche pour la présentation aux drapeaux

`Te Deum` for tenor, 2 mixed chorus, boy`s choir, organ and orchestra (1848-1849; 1852, 1855), op. 22 (Berlioz)
1969 - with London Symphony Chorus and Wansworth Boys` Choir
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`Te Deum` for tenor, 2 mixed chorus, boy`s choir, organ and orchestra (1848-1849; 1852, 1855), op. 22 (Berlioz)
Live - 22/23 Feruary 2009 - with Eltham College Choir
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