Boston Symphony Orchestra & New England Conservatory Chorus conducted by Seiji Ozawa. Julia Hamari (mezzosprano), Jean Dupouy (tenor) and José van Dam (bass).

Part I
I - Introduction. Combats - Tumulte - Intervention du Prince. Allegro fugato (0:00) - Prologue. Récitatif choral: D’anciennes haines endormies. Moderato (4:23) - Strophes: Premiers transports. Andante solenne (8:54) - Récitatif et Scherzetto: Mab la messagère. Moderato (14:54)

Part II
II - Roméo seul - Tristesse - Bruits lontains de concert et bal - Grande Fête chez Capulet. Andante malinconico e sostenuto - Allegro - Larghetto espressivo - Allegro: 18:14
III - Nuit sereine. Le Jardin de Capulet, silencieux et désert - Les jeunes Capulets, sortant de la fête, passent en chantant des réminiscences de la musique du bal - Scène d’amour. Allegretto - Adagio - Tempo I - Animato - Allegro agitato - Adagio: 30:51
IV - La reine Mab ou la fée des songes. Scherzo. Prestissimo - Allegretto - Tempo I: 47:15

Part III
V - Convoi funèbre de Juliette. Andante non troppo lento: 54:43
VI - Roméo au tombeau des Capulets - Invocation - Réveil de Juliette - Joie délirante, désespoir, dernières angoisses et mort de deux amants. Allegro agitato e disperato, con moto - Largo - L'istesso tempo - Allegro vivace ed appasionato assai - L'istesso tempo: 1:02:41
VII - Finale. La Foule accourt au cimetière - Rixe des Capulets et des Montagus - Récitatif et Air du Père Laurence - Serment de réconciliation. Allegro - Doppio più lento - Allegro non troppo - Andantino - Allegro - Larghetto sostenuto - Allegro non troppo - Andante maestoso - Allegro - Allegro moderato - Andante un poco maestoso: 1:10:07

Berlioz's "Romeo and Juliet" was composed between January and September 1839, being premiered on November 22 of that year, performed at the Paris Conservatory directed by the author himself. The work was a huge success, among the audiences being a young Wagner that was inspired by the piece. The symphony is structured in three large parts: a first one that acts as a prologue, the four parts of the symphony itself in part two, and a choral finale in part three.

Berlioz wrote a prologue explaining the nature of the work: "It's not a concert opera, not a cantata, it's a choral symphony." Voices and choruses are introduced into the genre, but the orchestra remains the most important, representing the two lovers because music can go beyond words can express. The text, while generally following the tragedy of Shakespeare, omits a number of scenes (most notably the balcony duet) and introduces new ones.

The first part is subdivided in four sections. It begins with a lively orchestral introduction as a fugue, representing the fights between the two families, Capulets and Montagues, through the streets of Verona. A solemn motif, interpreted by the trombones, shows us the intervention of the Prince. The initial fugato reappears briefly and soon becomes silent, to make way for a small chorus that tells the action. The mezzosoprano, accompanied by the harp, describes the drama. It is a descriptive prelude so that listeners can follow the action that the music will later describe. The Prince intervenes to stop the fight to the death between the two houses. The head of the Capulets' family then celebrates a party, as the choir tells us.

Romeo, belonging to the Montagues, wanders around the palace thinking of his beloved Juliet. The orchestra interprets the beginning of the themes that will later be developed. The party ends. The chorus tells us the famous balcony scene, anticipating the melody of the love scene. The mezzosoprano, accompanied by the harp, sings the first love of Juliet in the song "Premiers transports". The tenor, accompanied by the choir, mocks the love of Romeo in a song that speaks of the spell that Queen Mab, the queen of fairies and dreams, has done on the lover. The final chorus tells us how death has the final power to reconcile families.

The second part begins with an andante for strings, with a theme portraying the solitude and sadness of Romeo at the Capulets' ball. The oboe takes and develops it. A rhythmic figure, announcement of the dance, interrupts the nostalgic theme before a passage in counterpoint. The allegro then begins as a symphonic depiction of the great party celebrated in the mansion of the Capulets. Suddenly the party stops, reappearing the oboe's melody. We see Romeo in silence, alone and sad. It ends with a conclusive coda based on the theme of the party.

[Description continued in the comments section]

[Activate subtitles to read the lyrics]

Picture: "Romeo and Juliet" (1884) by the English painter Frank Dicksee.

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