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Tilson Thomas has form with Berlioz: the full forces of the LSO and London Symphony Chorus built up to a noble blaze

In Gergiev's late, late show, Mao Fujita impresses in Tchaikovsky, but episodes from Berlioz' Roméo et Juliette are given a Shakespearean speed read. 

Ludovic Morlot conducts Berlioz’s Roméo et Juliette with The Hallé.

Daniel Harding conducts a handsome, moving account of Berlioz' Symphonie dramatique with the Berliner Philharmoniker. 

Daniel Harding and the Swedish Radio Symphony Orchestra in love with Pettersson and Berlioz, whereas Alina Ibragimova disappoints in Schumann.

Prom 20 proved an exhilarating journey, featuring Berlioz’s Roméo et Juliette as one of the key works of this year’s BBC Proms' Shakespeare 400 celebrations.

“If music be the food of love, play on, give me excess of it.” There was certainly plenty of Shakespeare-inspired music on the bill for the London Philharmonic Orchestra's celebration of The Bard. 

The concept of bringing opera and ballet together in an abstract production is interesting, but Sasha Waltz creates a cold universe that fails to convey strong emotions.

After being absent since December, music director Riccardo Muti returned to Chicago Symphony in a passionate account of the epic Roméo et Juliette by Berlioz.

The coda to Juliet's "Convoi funèbre" crystallised all that was exceptional about this performance of Berlioz's symphonie dramatique.

Donald Runnicles leads the Deutsche Oper Berlin in Sasha Waltz's production of Berlioz's dramatic symphony.

The theme to the evening’s programme at the Colston Hall was “The Power of Love”. Spread over a century, the three works programmed were all romantically driven.

What is there to say about Hector Berlioz’s Roméo et Juliette? A “dramatic symphony” in seven movements, featuring small and large choruses, and three soloists (two of whom sing for around five minutes each and one who sings for around 30), as well as a treasure trove of unusual instrumental combinations and sounds, it is safe to say this is something of an odd bird.

In one of several (pretty outrageous) notes to conductors in the score of his Roméo et Juliette, Berlioz states that “the average listener has no imagination” and, as a result of this, the sixth movement of the work should be cut in 99 per cent of performances.