Started by Greta, May 01, 2007, 08:06:38 PM
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Quote from: lordlance on April 17, 2023, 04:00:59 AMNeed recommendations for Symphonies No. 1, 2, 5, 6 and 9 that are intense, vigorous, helter-skelter, go for broke and in good sound (available on Spotify too.)
Quote from: lordlance on April 17, 2023, 11:04:48 PMAny thoughts on the recent Bychkov Mahler discs? Are these high voltage performances or more "stately"?
Quote from: Lisztianwagner on April 17, 2023, 09:32:24 AMI listened to Petrenko's Mahler 6 just once on spotify, but it sounded very fine to me; the orchestra had great intensity and energy, but also lyricism, and in particular, percussion was incredibly thunderous (well, no great suprise as it is the Berliner Philharmoniker, which also showed a clear, detailed sound). He reversed the order of the Scherzo (placed third) and the Andante moderato (placed second), but that wasn't a problem to enjoy the recording.
Quote from: LKB on April 18, 2023, 01:46:00 AMI would respectfully suggest that folks recommending von Karajan for the Ninth might want to specify the live 1982 recording, since the earlier studio analogue effort is still available.
Quote from: Jo498 on May 08, 2023, 07:45:52 AMI have never heard it and don't know any Chinese but the project seems not attractive to me and a bit misguided. AFAIK, Mahler used free translations (in German) of free translations (from Chinese to French). They were so liberal with the sources that it took scholars a lot of work to identify some of the source poems correctly. It's not authentically Chinese but a European fin de siècle idea about old imperial China as a source of a somewhat different but still compatible kind of wisdom and poetry.
Quote from: Todd on May 08, 2023, 04:04:46 PMIt's been a while since I last bought a new - as in new, new - Mahler 4. Well, here's one. Now, Jakub Hrůša ain't new to me. He waves the stick in FPZ's reference recording of Martinu's VCs as well as in Ivo Kahanek's crackerjack recording of PCs by Dvorak and Martinu. So the dude can accompany the best of 'em - literally. This here conductor-oriented work is the first where Hrůša's the main draw. (Kinda - more on that momentarily.) He doesn't miss a beat. The entire symphony is perfectly paced, never sluggish and never rushed, and it packs a wallop when it needs to, especially in the Adagio. This is a pandemic recording, with players more spread out than normal, and perhaps as a result of that, the sound is strikingly transparent, with different blobs o' instruments sounding pristinely clear. The playing sounds modern day conservatory perfect. It's not over the top indulgent (though Mahler's music fairly invites that) and it's not wimpy. It's top notch. That gets driven home by what turns out to be the co-main draw: Anna Lucia Richter. Holy smokes! When she first enters, her lower register has a heft and perfection that immediately made me think of the great Juliane Banse with Boulez - and things get better from there. Her high notes, just a bit highlighted, perform the vocal equivalent of throwing cold water in the lister's face, grabbing the listener's lapels, and brusquely yet tenderly seducing the listener, all at once. So pure is her tone, so ridiculously controlled and precise, so captivating, that she almost pulls of an Isabel Bayrakdarian, forcing the listener to scramble to buy gobs of new recordings. No, I shan't do that. I shall restrain myself. I shall daintily sample her Brahms, and only her Brahms. I swear. Hrůša is now a name I shall seek out, and fortunately the ongoing Brahms/Dvorak outings look enticing. He must record a complete Mahler cycle. He must.
Quote from: Roasted Swan on May 09, 2023, 11:00:35 AMRecently appointed principal conductor of the Royal Opera House Covent Garden - so you are not alone in your admiration!
Quote from: Todd on May 09, 2023, 03:33:02 PMPerhaps I will write a letter encouraging all involved to put on a new production of Lulu.
Quote from: Roasted Swan on May 10, 2023, 06:01:16 AMyes do - but he doesn't take over until 2025.......
Quote from: Leo K. on May 18, 2023, 02:57:30 PMHaitink's approach to Mahler's Symphony No. 9 in his (release in 2021?) recording may be characterized as deliberate and measured. The slower tempos perhaps allow for a deep exploration of the emotional nuances within the score. However, I found the slower pace to be overly cautious, potentially diminishing the momentum and intensity that can be found in faster interpretations.
QuoteRecorded:• 29 Mar 2019 (Symphony No. 1)• 15 Dec 2018 (Symphony No. 2)• 13 Jun 2014 (Symphony No. 3)• 22 Mar 2014 (Symphony No. 4)• 27 Oct 2018 (Symphony No. 5)• 25 Jan 2020 (Symphony No. 6)• 26 Aug 2016 (Symphony No. 7)• 18 Sep 2011 (Symphony No. 8 )• 3 Dec 2017 (Symphony No. 9)• 18 May 2011 (Adagio Symphony No. 10)
Quote from: brewski on May 20, 2023, 08:21:40 AMNext Saturday, May 27, at 7:30 pm (EDT), the Cincinnati May Festival will broadcast the Eighth (looks like audio only) as the festival finale, conducted by Juanjo Mena. Tune in on YouTube or on the Cincinnati Public Radio website.https://mayfestival.com/concerts-and-events/buy-tickets/2023-season/mahlers-symphony-of-a-thousand/live-broadcast/-Bruce
Quote from: brewski on May 26, 2023, 04:43:31 AMUPDATE: tomorrow night's conductor is now James Conlon. Interestingly, I heard him 20 years ago in the same piece, when he made his debut with the Minnesota Orchestra. (Rhetorical query: who makes his initial appearance with the Mahler 8? )
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