Berlioz的意思|Berlioz的解释-里氏词典

Berlioz

['bєәliәuz]
柏辽兹(Louis Hector, 1803-1869, 法国作曲家)

berlioz

[ noun ]
French composer of romantic works (1803-1869)
<noun.person>

If that is indeed his guiding principle now, the Berlioz Harold in Italy showed that it does not cramp his insights.
Each of its five movements is enchanting, lit up by eager, well-schooled imagination and by judicious orchestral hints from Berlioz and Wagner.
The Festival Hall organ cannot be at the opposite end from the orchestra, as Berlioz intended, but it can roar, and it didn't. Miss Saariaho's Du Cristal is a study in soft, infinitely refined orchestral densities.
This has been especially true since Mr. Norrington spearheaded the move into the 19th-century repertoire, tackling Schubert, Berlioz and Wagner.
But they and the others in the cast also had to find an acting style that would include a basis in the antique, a strong whiff of Berlioz's mature romanticism and his goal of finding a grandiose alternative to Wagner.
On the same label, Berlioz specialist Sir Colin Davis conducts the London Symphony Orchestra in his second "Harold in Italy" (he first recorded it more than two decades ago with Yehudi Menuhin), featuring Nobuko Imai's plaintive and lyrical viola.
A decade or so ago the BBC Symphony Orchestra would probably have called its exploration of the music of Hector Berlioz, which began in the Royal Festival Hall on Saturday, simply 'Berlioz Series'.
A decade or so ago the BBC Symphony Orchestra would probably have called its exploration of the music of Hector Berlioz, which began in the Royal Festival Hall on Saturday, simply 'Berlioz Series'.
Berlioz's Overture to Beatrice et Benedict opened the programme and Ravel's La Valse closed it, both in unexaggerated performances, though it was difficult to hear much of what was going on in either.
Never more than a semi-success during Berlioz's lifetime, on Sunday in the Queen Elizabeth Hall his 1838 opera semi-seria proved to be a marvellous tonic - as Chelsea Opera Group concert-performances regularly are.
On Monday, again with Andrew Davis conducting, we had two striking examples of that: one by Berlioz himself, the early overture Les Francs-juges, and Kaija Saariaho's 1990 Du Cristal.
Nothing much like Beethovenian 'symphonic argument' figures in it (nor is there much in later Berlioz); rather, each of the 14 sections of his Messe would be vitalised by some terrific, unheard-of musical idea, or several of them.
The orchestra has made a Berlioz album for Telarc and an album by resident composer Christopher Rouse for Nonesuch.
His exit in Act 1 - turning back to gaze at the dead Giselle - was worthy of Gericault. His pose,flower held aloft, as the ballet ends, would have inspired Berlioz. And in nothing is this marvellous interpretation selfish.
The COG has given the opera before, but only in the compromised 'final' version that Berlioz accepted for Liszt's Weimar performances in the 1850s.
Georges Berlioz, an attorney for the minority shareholders, said he intends to appeal the decision to the Court de Cassasation, the next level with jurisdiction to reverse the appeals court decision.
The Berlioz may not be an opera (even though it was recently staged at Covent Garden) but it calls for an opera-conductor's sense of atmosphere and pacing.

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