Listening this time “L’Enfance du Christ” alive it was difficult to reconcile with the fact that this oratorio was for Berlioz only a chance to show, that he is able to compose in a manner not similar to himself… Too sincerely, vividly and melodiously sounded Berlioz’s music … The real jewelry was a fresh tenor of the young singer Yann Beuron (Centurion): even in recitatives he bribed by carefulness, excellent articulation, careful intonations and a radiant timbre. And right at the end, in a thawing aria with the Choir, he has achieved absolutely unearthly paints in his voice, making by this oratorio’s final quite adequate to that how it has been this time performed.

Tchaikovsky Symphony Orchestra under Vladimir Fedoseyev’s conduction in all three parts did not cease to surprise not only with absolute teamwork, but also with keenness, transparency, even with some humility of its sounding, helping the capital public wholly estimate badly familiar Berlioz’s masterpiece.

Sergey Khodnev. “Kommersant”


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