Recognition of Berlioz's dramatic and evocative music was celebrated by the Chandos in this bicentenary year of the composer's birth.

Christine Rice, mezzo-soprano, was soloist in the song cycle Les Nuits d'Ete, Op.7, her vocal timbre and delivery befitting Berlioz's settings ideally. The Chandos, led by Edward Bale and conducted by Michael Lloyd, provided a beautiful backdrop, adding enhancement to the poetry.

A lovely combination of voice and cellos began Villanelle, followed by serenity within Le Spectre de la Rose. In this, flute, clarinet and gentle violins set the scene, then using her extensive vocal range, Christine intensified before she subdued to an exquisite pianissimo finish.

Au Cimetiere was sung with admirable control and given long legato lines, while L'ille Inconnue allowed Christine to show her extensive vocal palette to full advantage, as with strings, horns and woodwind this fine interpretation drew to its close.

More drama came in orchestral excerpts from Romeo and Juliet, Op.17.

Romeo alone, portrayed first by stark sounding violins, soon developed through significant episodes from the woodwind. By the end of the movement there was a furore amplified by magnificent brass and percussion.

Cellos and horns serenaded in Love scene, double basses plucking rhythmically, while caressing violins and violas, imbued a sensuous and tender aura. Romeo at Capulet's tomb, heralded by gaunt sounding brass and sepulchral orchestral chords, evolved into tragic agitation; the sense of sorrow and loss, augmented by lone clarinet notes, brought this tightly disciplined interpretation, in respect of acknowledging Berlioz's theatrical rests and pauses, to its conclusion.

A joyful romp through Overture: Roman Carnival, Op.9 with plenty of brass and percussion sent the rather small audience home in cheerful mood.

Jill Hopkins