Episodes
| Series | Episode | Title | First Broadcast | Comments |
|---|---|---|---|---|
| 2023 | 01 | A Passion For Stories | 20231106 | Donald Macleod investigates the origins of Berlioz's flair for drama Berlioz burst onto the musical stage of 19th-century Paris, determined to break the mould of France's elegant and refined classical style. He wanted to create music that could be bombastic, barbaric and grotesque, as well as sentimental, scintillating and sorrowful. In this, he was inspired by writers as much as fellow musicians. He was captivated by stories and crowded his imagination with the tales of Virgil, Scott, Goethe and, most of all, William Shakespeare. This week, Donald Macleod traces the tangled literary connections in Berlioz's life and music, including the profound spell cast by Shakespeare over the composer's art and personality. Today, fantasy spills into real-life, not for the last time, as teenage Berlioz is emboldened by his favourite romantic novel to pursue his young neighbour, Estelle Dubœuf. Symphonie fantastique: IV. Marche au supplice Chicago Symphony Orchestra conducted by Claudio Abbado Harold en Italie: III. Sérénade William Lincer, viola New York Philharmonic conducted by Leonard Bernstein Les Nuits d'été: IV. Absence, VI. L'île inconnue Dame Janet Baker, mezzo-soprano New Philharmonia Orchestra conducted by Sir John Barbirolli Waverley, Grande Ouverture Orchestre du Capitole de Toulouse conducted by Michel Plasson Roméo et Juliette: Part 1 (extracts) Michèle Losier, mezzo-soprano Samuel Boden, tenor BBC Symphony Orchestra BBC Symphony Chorus conducted by Sir Andrew Davis Donald Macleod investigates the origins of Berlioz's flair for drama. Donald Macleod investigates the origins of Berlioz's flair for drama and how his imagination was set alight by great writers, past and present. Today, fantasy spills into real-life, not for the last time, as teenage Berlioz is emboldened by his favourite romantic novel to pursue his young neighbour, Estelle Dubuf. Harold en Italie: III. S退r退nade Les Nuits d'退t退: IV. Absence, VI. L'le inconnue Rom退o et Juliette: Part 1 (extracts) Mich耀le Losier, mezzo-soprano |
| 2023 | 02 | Ophelia And Ariel | 20231107 | Donald Macleod sees Berlioz deeply unsettled by his first encounter with Shakespeare. Berlioz burst onto the musical stage of 19th-century Paris, determined to break the mould of France's elegant and refined classical style. He wanted to create music that could be bombastic, barbaric and grotesque, as well as sentimental, scintillating and sorrowful. In this, he was inspired by writers as much as fellow musicians. He was captivated by stories and crowded his imagination with the tales of Virgil, Scott, Goethe and, most of all, William Shakespeare. This week, Donald Macleod traces the tangled literary connections in Berlioz's life and music, including the profound spell cast by Shakespeare over the composer's art and personality. Today, Berlioz has an extraordinary reaction to seeing Shakespeare performed for the first time. He also embarks on two unhappy love affairs and finds himself in danger of fatally losing his way. Roméo et Juliette, Op 17: Part 2 (extract) BBC Symphony Orchestra conducted by Sir Andrew Davis La Damnation de Faust: Scène 15. Anne Sofie von Otter, mezzo-soprano (Marguerite) Philharmonia Orchestra Philharmonia Chorus conducted by Myung-Whun Chung Symphonie fantastique: II. Un bal (Valse) Chicago Symphony Orchestra conducted by Claudio Abbado Lélio, ou Le Retour a la vie: VI. Fantaisie sur ‘La tempête' de Shakespeare Chicago Symphony Chorus conducted by Riccardo Muti Symphonie fantastique: V. Songe d'une nuit du Sabbat Berliner Philharmoniker conducted by Sir Simon Rattle Donald Macleod sees Berlioz deeply unsettled by his first encounter with Shakespeare. After two unhappy love affairs, Berlioz finds himself in danger of fatally losing his way. Rom退o et Juliette, Op 17: Part 2 (extract) La Damnation de Faust: Sc耀ne 15. L退lio, ou Le Retour a la vie: VI. Fantaisie sur La tempꀀte' de Shakespeare |
| 2023 | 03 | Love And Disappointment | 20231108 | Turning his back on opera, Berlioz decides to bring Shakespeare into the concert hall. With Donald Macleod. Berlioz burst onto the musical stage of 19th-century Paris, determined to break the mould of France's elegant and refined classical style. He wanted to create music that could be bombastic, barbaric and grotesque, as well as sentimental, scintillating and sorrowful. In this, he was inspired by writers as much as fellow musicians. He was captivated by stories and crowded his imagination with the tales of Virgil, Scott, Goethe and, most of all, William Shakespeare. This week, Donald Macleod traces the tangled literary connections in Berlioz's life and music, including the profound spell cast by Shakespeare over the composer's art and personality. Today, Berlioz reconnects with Shakespearean actor, Harriet Smithson, and is more determined than ever to make her his wife. But can the realities of married life ever hope to live up to his romantic imagination? Lélio, ou Le Retour a la vie: II. Choeur d'Ombres John Alldis Choir London Symphony Orchestra conducted by Sir Colin Davis La Mort d'Ophélie Sabine Devieilhe, soprano Alexandre Tharaud, piano Roméo et Juliette: Part 2, II. Scene d'amour BBC Symphony Orchestra conducted by Sir Andrew Davis Tristia: III. Marche funèbre pour la dernière scène d'Hamlet Choeur Les Éléments Orchestre du Capitole de Toulouse conducted by Michel Plasson Le Roi Lear Royal Scottish National Orchestra conducted by Sir Alexander Gibson Berlioz reconnects with Shakespearean actor Harriet Smithson and works on a new symphony based on Shakespeare's Romeo and Juliet. With Donald Macleod. L退lio, ou Le Retour a la vie: II. Choeur d'Ombres La Mort d'Oph退lie Rom退o et Juliette: Part 2, II. Scene d'amour Tristia: III. Marche fun耀bre pour la derni耀re sc耀ne d'Hamlet Choeur Les ɀl退ments |
| 2023 | 04 | Heroes And Devils | 20231109 | Donald Macleod explores more of Berlioz's ambitious experiments in musical storytelling. Berlioz burst onto the musical stage of 19th-century Paris, determined to break the mould of France's elegant and refined classical style. He wanted to create music that could be bombastic, barbaric and grotesque, as well as sentimental, scintillating and sorrowful. In this, he was inspired by writers as much as fellow musicians. He was captivated by stories and crowded his imagination with the tales of Virgil, Scott, Goethe and, most of all, William Shakespeare. This week, Donald Macleod traces the tangled literary connections in Berlioz's life and music, including the profound spell cast by Shakespeare over the composer's art and personality. Today, Donald follows Berlioz abroad, where the acclaim he received was a welcome contrast to the indifference he perceived from critics, audiences and theatre impresarios back home in Paris. Creating a new grand opera for the French capital seemed like a foolhardy enterprise, but Berlioz couldn't rid himself of his childhood memories of Virgil's epic tales about the Trojan War. Marche hongroise London Symphony Orchestra conducted by Sir Simon Rattle La Damnation de Faust: Part 2 (excerpts) Christopher Purves, baritone (Mephistopheles) London Symphony Chorus L'Enfance du Christ: Part 2, ‘La fuite en Egypte' (excerpts) La Chapelle Royale Collegium Vocale Gent Orchestre des Champs-Élysées directed by Philippe Herreweghe Les Troyens, Act 4: ‘Nuit d'ivresse et d'extase infinie ! Joyce DiDonato, mezzo-soprano (Didon) Michael Spyres, tenor (Énée) Jean Teitgen, bass (Mercure) Strasbourg Philharmonic Orchestra conducted by John Nelson Roméo et Juliette, Parts 4 & 5 BBC Symphony Orchestra BBC Symphony Chorus Sir Andrew Davis Donald Macleod explores more of Berlioz's ambitious experiments in musical storytelling, including an opera based on Virgil's tales of the Trojan War that he'd loved as a child. L'Enfance du Christ: Part 2, La fuite en Egypte' (excerpts) Orchestre des Champs-ɀlys退es Les Troyens, Act 4: Nuit d'ivresse et d'extase infinie ! Michael Spyres, tenor (ɀn退e) Rom退o et Juliette, Parts 4 & 5 |
| 2023 | 05 LAST | What Might Have Been | 20231110 | Old age brings some bitter blows, but Berlioz finds lightness and laughter in his final work. With Donald Macleod. Berlioz burst onto the musical stage of 19th-century Paris, determined to break the mould of France's elegant and refined classical style. He wanted to create music that could be bombastic, barbaric and grotesque, as well as sentimental, scintillating and sorrowful. In this, he was inspired by writers as much as fellow musicians. He was captivated by stories and crowded his imagination with the tales of Virgil, Scott, Goethe and, most of all, William Shakespeare. This week, Donald Macleod traces the tangled literary connections in Berlioz's life and music, including the profound spell cast by Shakespeare over the composer's art and personality. Today, Berlioz had built his reputation as an artist capable of the grandest gestures, so we might be surprised at his choice of subject for his next opera. The project was destined to be his last creative act as a composer, and a worthy tribute to the poet and dramatist who'd sustained him all his adult life. Béatrice et Bénédict: Act 1, Entracte, Sicilienne Béatrice et Bénédict: Overture Béatrice et Bénédict: Act 2, Trio, ‘Je vais d'un coeur aimant' & Chorus, ‘Viens! Viens, de l'hyménée Sylvia McNair, soprano (Hero) Catherine Robbin, mezzo-soprano (Ursule) Susan Graham, soprano (Beatrice) Choeurs et Orchestre de l'Opera de Lyon conducted by John Nelson Roméo et Juliette: Part 6 Roméo et Juliette: Part 7 David Soar, bass (Le Père Laurence) BBC Symphony Orchestra BBC Symphony Chorus conducted by Sir Andrew Davis Berlioz finds lightness and laughter in his final music. With Donald Macleod. B退atrice et B退n退dict: Act 1, Entracte, Sicilienne B退atrice et B退n退dict: Overture B退atrice et B退n退dict: Act 2, Trio, Je vais d'un coeur aimant' & Chorus, Viens! Viens, de l'hym退n退e Rom退o et Juliette: Part 6 Rom退o et Juliette: Part 7 David Soar, bass (Le P耀re Laurence) |