Berlioz Blitz Rocks Symphony Hall

Upon entering the beautiful Symphony Hall, with its Grecian figurines gracing the walls and Beethoven's name inscribed in gold above the stage, one is always prepared for an impressive concert. And the Boston Symphony Orchestra does not disappoint -- its all-Berlioz concert was truly enjoyable. The orchestra performed three of Hector Berlioz's less known works: the Waverly overture (1827), La Mort d'Orphee (1827) and Te Deum (1849).

The Waverly, Berlioz's earliest catalogued work, is typical of any composer's early works: light, crowd-pleasing, conventional and devoid of individual style. Its sound blends the characteristics of the Classical and Romantic eras, but does not follow the Germanic style that preceded it. Overall, the Waverly had a pleasant sound, and was a good introductory piece for the program.

La Mort d'Orphee, though composed in the same year as the Waverly, has a distinctly different tone. Berlioz wrote it for the Prix de Rome, the most prestigious composers' competition in Paris, but the judges deemed it too daring. This work tells the tale of Orpheus' death in three movements. The first is a sorrowful tenor melody in which Orpheus laments for his lost Eurydice. The second depicts the wrath of Bacchus' priestesses, who tear Orpheus to pieces when he rejects their love. Both a tenor and a women's choir are required for this movement, but this seems almost a mistake on Berlioz's part, as the tenor's voice is completely drowned out by the women's voices and the orchestra. The third movement, written for orchestra alone, is a sad, reflective reminiscence on the dead Orpheus. This musical interlude seems somehow odd and unfitting to the piece, following two movements of passion and action.

After intermission, the final work, Te Deum, brought the audience to its feet with thunderous applause. This piece utilized a tenor, a full choir and a children's chorus. Its seven movements are taken from a liturgical text; Berlioz composed this piece soon after his father's death, which may have influenced his subject choice. After the grand introduction, Berlioz moves into some of the most beautiful melodies of his whole repertoire. Daring and original, this work demonstrates his mature style, his full mastery of blending orchestral and choral sounds.

The orchestra and various music groups were, on the whole, extremely impressive. BSO director Seiji Ozawa has excellent technique and an outstanding memory, as demonstrated by his conducting the entire Te Deum without score. The percussion section seemed especially good, but the violins sounded on the thin side, perhaps a result of the stage acoustics. Overall, the orchestra had a warm and inviting sound, more melodious than precise. Tenor John Alers did a superb job of projecting over the orchestra during his solos, though his voice was lost in the blast of the women's choir -- from the Tangle-wood Festival Chorus -- during Orphee. However, the women, too, deserve praise for their highly energetic and emotional singing.

The entire Tanglewood Festival Chorus, directed by John Oliver; the PALS (Performing Artists at Lincoln School) Children's Choir, directed by Johanna Hill Simpson, and organist James David Christie joined in the Te Deum for a sweeping, magnificent performance. Mr. Christie's skillful organ playing added a lovely tone to the entire work. The children's choir was adorable, and sang with great enthusiasm. Overall, this was an excellent concert, and kudos go to all musicians involved in bringing Berlioz's music to life.