Berlioz: Benvenuto Cellini First recoding of the original Paris Version

Great recording and excellent singers. Just love it. I do have several Cellini recording - two of them live and I love all of them, each for a different reason. This one is refined and it has Joyce DiDonato in it, reason enough to have it. Nelson is a fine conductor and seems to be a Berlioz fan. I have his version of Beatrice and Benedict, which is exquisite.Hvaing said that, my first choice remains the rendition directed by Sir Colin Davis.

Hector Berlioz missed the memo on the KISS Rule (Keep It Simple, Stupid).It's a good thing, that. Even better is the presence of conductors like the supremely attentive John Nelson, who give themselves and their formidable talents to works that might otherwise languish in abandonment, too far off the beat track for markets and beancounters to pay atttention.Gratefully, attentiveness and attention have been lavished upon this 19th-century opera, evident not least in the 173-page booklet that accompanies the nicely boxed three disks.This is opera made to enjoy without interruption. Take it on a long car ride.But by all means, take it. Some beautiful wild flowers grow well-hidden off the beaten track.

I'll keep this short- if you love Berlioz you must have this recording. And if you think you know Cellini from the Davis recording- you don't.

Excellent performance and excellent recording. Interesting to hear the "full" Paris version, giving another half hour of music!

Cracked disc case. Cracks on one of the discs. NO BOOKLET

Berlioz had a number of "problem children" when it came to getting his compositions staged, and Benvenuto Cellini was one of them. The first performance in its original version was not until 8 Dec. 2003; and this is it. Please note, other editions are lacking almost 30 minutes of music as a result of cuts, including both by Sir Colin Davis. After recently listening and comparing this and the latest Davis on LSO, I can recommend this as the one to get. This is not to say that either of the Davis' are less than excellent, and the later on LSO will probably be found a lot cheaper; but from a musical standpoint, this is currently the one to have. Also note, this includes the original, slightly different and a little longer version of the Overture.It should be pointed out, if you enjoy this recording, that John Nelson has also recorded the, as far as I know, only complete version of Berlioz's last opera, "Beatrice et Benedict", with Lyon Opera Orchestra and Chorus (on Erato). It is complete in that, in addition to all the music, it also has the extensive spoken dialog.

After listening to this delightful recording again (after a long absence from hearing it) I have only a few things to add to the other reviews here. The two versions any Berlioz lover must have--as everyone has said--is the Davis and this one. The old Davis is different from the new Davis and the first is FAR preferable. Don't be fooled. The first version even sounds better, the modern recording of the new version hardly an improvement. And the cast does not compare. But the Nelson version is not really a direct comparison with the old Davis (as some have rightfully pointed out before me) since the "versions" are so different. Which means you need both. This recording is quite special. Delightful, characterful singing (especially Kunde, Naouri, and Di Donato) and a fine conductor conducting an orchestra on top of the complex score make this a complete joy. If the new video is not to your liking, then this audio version should be the first place to turn and the Davis the second. I do think some of Berlioz' first ideas are treasureable and gladly worth repeat listens. Balducci's aria at the beginning just the first of the many. Only three times does this recording leave me wanting (respectively more, less, and different.) And no one seems to mention them as "debits"--not that they really detract enough to lower the rating. The first is The Overture. In this instance, more is not that illuminating. Fascinating if you know the "famous" version, but not really any better. Sometimes less really is more. The second is the non-reasoning of putting Cellini's first aria in an appendix instead of its proper place. The notes could have just told people to skip the track to hear how Berlioz first conceived it. They certainly kept many other additions and second thoughts by Berlioz that were not there in the "original". It was performed on opening night. Stupid. I burned a version of the act with the appendix aria in its "rightful" place. This makes it necessary to add a number in your mind to the track list (or type a new one of your own) but far preferable. But the one real reason to also get the Davis recording of this opera (other than it's a great performance) is that the first version of Teresa's aria is inferior to the re-write. A side by side comparison shows this instantly. It's nice to have both but I do miss the lovely "second thought" of this one solo piece for the heroine. Still, essential purchase for opera fans. And wait for a better video. Maybe the MET revival? Not a perfect production, either, but fairly faithful to the "intentions" of the work. And not updated.

If it's by Berlioz it is always good. This opera is full of really great music. Looking forward to it being performed at London Coliseum this summer (2014). First time on stage in London since the seventies at ROH.

Grandissima opera, ottimi cantanti, orchestra e direttore strepitosi, tre dischi ad un prezzo ottimo, unico neo il libretto stampato male.

Très satisfait. Magnifique interprétation de ce chef-d’œuvre de l'opéra romantique!Je le recommande chaleureusement à tous les amateurs d'opéra français!