BERLIOZ Dream of a Witches Sabbath

In 1827, Berlioz saw an English production of Hamlet, where the lead role of Ophelia was played by an Irish woman named Harriet Smithson. Despite the language barrier, he became so enamoured with Smithson that he tried all ways and means to get to know her. He wrote of his passion for her in letters, but she refused to see him, having heard rumours about his incriminatingly erratic behaviour and mental instability.

Turning instead to music, Berlioz wrote an almost autobiographical ‘fantastic’ symphony, which told the story of an artist’s obsession and unrequited love with his beloved. He himself described, “the subject of this musical drama was none other than my love for Miss Smithson and the anguish and ‘bad dreams’ it had brought me.” The Symphonie defies the conventional 4-movement form in order to tell its story in five parts.

The beloved is represented with a musical theme which Berlioz called the idée fixe. It unites the entire symphony, appearing in various forms and guises but is always recognisable. For example, the idée fixe in the first movement is sweetly innocent and charmingly graceful, introduced by the violins and the flute. But by the time the idée fixe returns in the fifth movement, it has been grotesquely transformed into a witches’ dance.

The Dream of a Witches’ Sabbath is a gathering of all things ghastly for the Artist’s funeral. Shrieks and eerie groans set the atmosphere, and the artist’s beloved appears as a witch, the idée fixe transformed into a mocking and spiteful parody of the original. A bell tolls; bassoons and tuba play the Dies Irae, and the black sabbath party begins. The frenetic music condemns the Artist to eternal damnation, with his beloved watching on and gloating. (Natalie Ng)

Singapore Symphony Orchestra
Pierre Bleuse, conductor

Recorded live at the Esplanade Concert Hall, Singapore, on 1 June 2024.
Video & audio: msm productions (Singapore)