Harold In Italy

Lisa Berthaud (viola), Giovanni Radivo (violin) & Orchestre National de Lyon, Leonard Slatkin

Drawing on the adventures of Byron’s Childe Harold and the composer’s own Italian experiences as a Prix de Rome winner, Harold en Italie was intended for the great violinist Paganini who, having initially rejected the work, later repented, giving it his highest praise. The brilliant concert overtures Benvenuto Cellini and Le carnaval romain are among Berlioz’s most popular works. Quickly taken up by several celebrated violinists of the time, the elegant Rêverie et Caprice is his only work for solo violin and orchestra. Leonard Slatkin’s Lyon recording of Berlioz’s Symphonie fantastique (8572886) has been acclaimed as “quite simply one of the best on disc” by MusicWeb International.

Leonard Slatkin and the Orchestre National de Lyon have already booked a remarkable success with their Grammy nominated recording of Berlioz’s Symphonie fantastique (8572886), which was also a MusicWeb International ‘Recording of the Month’. It was also dubbed “the most amazing performance and recording of the work I’ve ever heard” by Fanfare.

Internationally renowned conductor Leonard Slatkin is currently music director of the Detroit Symphony Orchestra and of the Orchestre National de Lyon and principal guest conductor of the Pittsburgh Symphony Orchestra. He is also the author of a new book entitled Conducting Business. His more than 100 recordings have brought seven GRAMMY® Awards and 64 GRAMMY® Award nominations. He has received many other honours, including the 2003 National Medal of Arts, France’s Chevalier of the Legion of Honour and the League of American Orchestras’ Gold Baton for service to American music.

Berlioz:
 Harold en Italie, Op. 16
 Benvenuto Cellini Overture
 Le carnaval romain Overture, Op. 9
 Reverie et Caprice, Op. 8

"Berthaud's first viola solo, backed by the harp and interspersed with expressive clarinets, is beautifully played. Slatkin lilts us into the main Allegro as persuasively as anyone this side of the analogue divide...The two overtures are excellently played, both benefiting from Slatkin's familiar skill at clarifying orchestral textures."
Gramophone Magazine - Awards Issue 2014