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Expires on Wednesday 4:00pm

Donald Macleod pulls back the curtain on Berlioz’s greatest obsession. Hector Berlioz was one the most innovative and rebellious musicians of 19th-century France. He was a man of unwaveringly high expectations, in his wider life as well as his music. As the quintessential Romantic, one friend said that love was the “alpha and omega of his existence”. This week Donald Macleod looks at Berlioz through the passions and relationships that shaped who he was and what he created, exploring the romantic obsessions of an especially obsessive man. We’ll also hear a movement of his Symphonie Fantastique each day – Berlioz’s best-known work, and the musical embodiment of his most powerful infatuation. Today, starting with the woman who would have a fatal influence over him – his Ophelia. As the curtain rises for a performance of Hamlet at the Paris Odeon theatre, little does Berlioz know what he would later call the “supreme drama” of his life, is about to begin... Marche Funèbre pour la dernière scène d‘Hamlet (Tristia, Op 18) Orchestre Revolutionnaire et Romantique John Eliot Gardiner, conductor Irlande (La belle voyageuse) Anne Sofie von Otter, soprano Cord Garben, piano Romeo et Juliette – Scène d’amour London Symphony Orchestra Colin Davis, conductor Lelio – Choeur d’ombres John Alldis Choir London Symphony Orchestra Colin Davis, conductor Symphonie Fantastique (1st movement – Reveries – Passions) Bavarian Radio Symphony Orchestra Mariss Jansons, conductor Produced in Cardiff by Amelia Parker