English Commentary by Sergio Cánovas 

Berlioz’s «Lélio» was composed between May and June 1831, during his stay in Italy after winning the Prix de Rome. It is a sequel of his famous Symphonie fantastique in form of a lyrical monodrama. It was premiered in Paris on December 9 of 1832, performed by the Orchestre de la Société des Concerts du Conservatoire conducted by François Habeneck. In 1855, Berlioz made a revision that mainly affected the monologues.

In the work, Berlioz resuscitates the artist, who died in the end of Symphonie Fantastique. Autobiographically represents the return to life of Berlioz to overcome the deep state of depression that his love tragedy had left to him. It must be represented after listening to the Symphony as the «Second episode in the life of an artist». A reciter speaks as Lélio in monologues, separated by seven musical sections from previously composed works. As a connecting link, the idée fixe appears at the beginning and at the end.

The first part is a ballad for tenor and piano with text by Goethe, which he composed in 1827. It begins with a recited part in which Lélio, the composer himself, telling us about his death, his visions of the inferno and his return to life. The tenor, accompanied to the piano, then sings the ballad. Trills and tremolandi transform the accompaniment as the «nymph» appears. Then the idée fixe from Symphonie Fantastique is heard on the violins, reminding us that it is his beloved.

The second part is a new version of the «Invocation of Cleopatra to the Pharaohs», belonging to his cantata «La mort de Cléopâtre» from 1829. The recitation tells us about the impressions that the works of Shakespeare produced, specially Hamlet’s tragedy. A transformation is generated inside the artist, moving him to create. Mysterious music begins to emerge from strings, before a shadow choir proclaim nightmarish verses about night and death.

The third part is probably a new version of a pirate song that has been lost, apparently composed in 1828. The text of the recited part includes a defence of Shakespeare’s plays and a battle cry about the defilers who dare modify his works. Lélio then imagines becoming the chief of a band of robbers in southern Italy. The song is performed by a baritone and men’s chorus, about the joys of a free life, with the pleasures of their female prisoners.

The fourth part comes from the cantata «La Mort d’Orphée» of 1827, which Berlioz later destroyed. Lélio has calmed down as the doors of hell have been closed. A new life appears more radiant as he longs for the love of his beloved. After a peaceful orchestral introduction, the tenor (as Lélio’s thoughts) sings with joy, calling for his beloved to come to him.

The fifth part also comes from «La Mort d’Orphée», taken from the final part of the work. In the recited section, the artist dreams of finding his Ophélie again, his Juliette. His memories of happiness are mixed with the funeral of his past end. An expressive larghetto for solo orchestra underlines his words. The Aeolian harp was an important symbol of artistic inspiration in Romanticism.

The final part is based on the overture of 1830. Lélio tells us how death has rejected him, music has been his salvation. That is why he has written a final scene as a tribute to the great Shakespeare. After detailed preparations, a magical introduction announces Miranda’s future husband, before a dissonant tempest begins. The following plot attempts to depict the characters of the play, the final chorus mourning the departure of Miranda. In the concluding orchestral section, Prospero is lauded as duke of Milan. Lélio congratulates all the interpreters and says goodbye. Then the idée fixe is heard again. Lélio listens and says «Again, and for ever!…» before leaving.