John Elliot introduces a rarely seen instrument – the Ophicleide, and talks about its role in Berlioz’s Symphonie Fantastique.Read More
“Berlioz wanted it to sound pretty rough and ghastly – so we do our best to provide that”
John Elliot introduces the Ophicleide, and its role in Berlioz’s Symphonie Fantastique – filmed while on tour with the piece last year.Read More
SO – two weeks, six countries, nine cities, fifteen train journeys, five flights, nine coach journeys, one car journey, seven hotels, twelve concerts, twenty four symphonies, thirteen overtures, six Christmas markets, far too many chocolates, undisclosed quantities of beer and wine…and we’re on our way home.
Yesterday in Paris, the day was grey and damp. A huge box of heavenly chocolates greeted us as we stumbled into the murky gloom backstage. This semi darkness is typical of many backstage areas in concert halls all over the world, and at the Theatre des Champs-Elysees there was much entertainment to be had falling over lengthy clumps of cables, negotiating one’s way around scaffolding towers dripping with theatre lights, avoiding unstable stacks of chairs plonked at random in the dark and searching for a surface or floor space on which to place an instrument case.