Berlioz uses his imagination

SynopsisSome things are best left to the imagination — at least that’s what French Romantic composer Hector Berlioz came to think regarding opera. Berlioz didn’t have the best of luck getting his operas staged during his lifetime, and, on the few occasions he did, the resulting performance fell far short of his ideal. Increasingly, Berlioz turned to what might be called the “Theater of the Imagination,” composing concert works that were, for all intents and purposes, operas minus the staging and costumes.One of these, which Berlioz called “a dramatic legend” and premiered in 1846, was The Damnation of Faust. It was based on the famous Faust plays of German poet Goethe. Like many of Berlioz’s works, The Damnation of Faust proved an artistic success — but a box office failure — at its premiere as an unstaged concert piece at the Opera Comique in Paris.Some five decades later, on today’s date in 1893, The Damnation of Faust was revived as a fully staged opera at the Monte Carlo Opera. It proved such a success that in short order it was staged in Milan, Moscow and Liverpool, and even reached the shores of America, courtesy of the French Opera in New Orleans.Music Played in Today's ProgramHector Berlioz (1803-1869): Dance of the Sylphs, fr La damnation de Faust; Baltimore Symphony; David Zinman, cond. Telarc 80164