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Good performance in clean, well-balanced and transparent sound. Impressive transfer by HDTT.
This was the first version I bought that was the London Stereo Treasury Series reissue. Although I own other copies of the Symphonie Fantastique (Dutoit with MSO, Norrington w/ Original Instruments) this was always me favorite. I'm very happy with the sound and very happy to have it back in the collection.
That taken into consideration is one of the largest recordings made of this symphonic masterpiece, the one that Decca, with the sound engineer Ken Cress and the producer James Walker, made in November 1957 at the Maison de la Mutualité, with the Spanish director Ataúlfo Argenta at the head of the Orchester du Conservatoire de Paris. If we take for example another excellent recording of this symphony such as that of the 2014 LSO with the conductor Valery Gergiev to conduct the London Symphony Orchestra, here we realize how absolutely superior the care of the balance: the presence effect is so high that you seem to be next to the director Argenta. In this production it has been possible to enhance the dialogue between the strings and the brasses respecting the tonal and tonal peculiarities but at the same time managing to bring them out in a bursting and never invasive way. The serious arches have been captured in a wonderful way and together with the cellos you can perceive a sculptural materialization of the same inside the room, it almost seems that you can touch them: in particular in the last two movements you have the distinct feeling of being inside the procession of the March of the Supplizio and to dance together with witches and demons in the Dream of a Sabbath night. All sections of the orchestra were shot with a natural balance and excellent transparency and dynamic and decidedly explosive. Absolutely credible and well proportioned soundstage for a recording which, even dating back to 1957, is absolutely an example of how one should always record. strappoacusticohiend.weebly.com
Great performance and top quality sound. must have edition
The presence effect is so high that it will seem to be next to the Argenta manager. In this production it was possible to enhance the dialogue between the strings and the brass respecting the tonal and timbral peculiarities but at the same time managing to make them emerge in an irrepressible and never invasive way. The severe arches have been captured in a wonderful way and together with the cellos, one perceives a sculptural materialization of the same within the room, it almost seems to be able to touch them: in particular in the last two movements there is the clear sensation of being inside the procession of the March of Punishment and dancing with witches and demons in the Sabbath Dream. All sections of the orchestra were taken with a natural balance and excellent transparency and dynamics and decidedly explosive. Absolutely credible and well proportioned soundstage for a recording that, although dating back to 1957, is absolutely an example of how one should always record.
Title: Berlioz Symphonie Fantastique op. 14
Artist(s): Ataulfo Argenta conducts the The Paris Conservatoire Orchestra
Recording Info: Transferred from a 15ips 2-track tape
Producer: John Culshaw Engineer: Ken Cress
Recorded by Decca 11-13 Nov 1957 at La Maison de la Mutualité, Paris
1 Rêveries, Passions (Largo - Allegro Agitato Ed Appassionato Assai) 12:40
2 Un Bal (Valse - Allegro Non Troppo) 6:20
3 Scène Aux Champs (Adagio) (Part 1) 8:25
4 Scène Aux Champs (Adagio) (Concluded) 7:05
5 Marche Au Supplice (Allegretto Non Troppo) 6:25
6 Songe D'une Nuit Du Sabbat (Larghetto - Allegro) 9:35
Total Time: 50:30