'Roméo et Juliette' gorgeously eloquent

UTAH SYMPHONY AND CHORUS, "Roméo et Juliette," Abravanel Hall, Nov. 5

"Roméo et Juliette," Hector Berlioz's large scale "dramatic symphony" for soloists, chorus and orchestra, is not quite what one would expect. Of the 19th century's countless musical versions of William Shakespeare's play, Berlioz's takes a different approach. It's not a slavishly faithful adaptation of the original. Instead, it's a narrative with the soloists and chorus looking in and commenting on the story.

And what sets it apart even further is the fact that Berlioz lets the orchestra in on it. Being Berlioz, he isn't content to just let the orchestra act as an accompaniment to the voices. Rather, he incorporates it into the dramatic fabric and makes it an active participant. He also lets the ensemble portray some of the most intimate moments in the story. It's a bold approach that perhaps only someone like Berlioz, who was a master orchestrator with an innate sense of drama, could make work.

The Utah Symphony and Chorus, under music director Thierry Fischer gave what is perhaps the first performance in Utah of Berlioz's complete "Roméo et Juliette" over the weekend. Fischer admires Berlioz's music and is an ardent exponent of the great French composer's works, and as he proved at Friday's performance Fischer is certainly is one of the most perceptive interpreters of this music today.

Fischer gave a commanding interpretation of the work. His account captured the myriad small nuances of the score. He doesn't fall into the trap, so common with many conductors today who attempt Berlioz, of going for the obvious. Instead he probes and goes deeper to find the subtleties of expression that make Berlioz's music memorable. Fischer's interpretation was intelligent, thoughtful and radiantly musical. This was Berlioz in the hands of someone who understands and appreciates the music.

The orchestra played wonderfully. Fischer got a warm and romantic sound from his ensemble, and the most lyrical movements were gorgeously eloquent. Most stunning were the purely orchestral movements "Roméo seul" and "Scene d'amour." Here Fischer captured the ardor of Romeo's love for Juliet through some of the most exquisitely expressive playing yet heard from the Utah Symphony.

The soloists and chorus have a fairly small part in the work, but they added tremendously to the performance with their wonderful singing. Mezzo-soprano Tamara Mumford, tenor Jason D. Slayden and bass Eric Owens sang beautifully. Mumford gave a compelling account of the "Strophes" movement. Her singing was lyrical and poetic.

The symphony chorus was, as always, a joy to hear. They sang with conviction and passion and gave a stellar performance.

e-mail: ereichel@desnews.com