Aurora Orchestra/Collon/Power review – Italian immersion with introspective Berlioz and extrovert Mendelssohn

Queen Elizabeth Hall, London Pairing Mendelssohn’s sun-filled Italian symphony with Berlioz’s broodingly romantic Harold en Italie – with actor Charlotte Ritchie on hand to bring Berlioz’s own voice to life - the Aurora Orchestra were on irresistible form So much shared, yet so utterly different. Mendelssohn wrote his Italian symphony in 1833, revising it the following year. Berlioz wrote his Harold en Italie symphony in 1834, following a stay in Rome during which the two composers had spent quality time together. Thus the Aurora Orchestra came up with the smart idea of putting the two Italian symphonies side by side. Beyond their loosely shared inspiration and form, however, the two works have little in common. Mendelssohn’s is an expert and extrovert piece of symphonic writing, tight and technically impeccable. That of Berlioz, meanwhile, follows a wandering star all its own, broodingly romantic and constantly innovative, exemplified by the solo viola that depicts the melancholy of Byron’s introspective hero Childe Harold.