Mahler: Das Lied von der Erde

Fono Forum 5 out of 5

(…) Gleich mit dem ersten Ton dieses erstaunlich präsent klingenden Instruments berührt Ashley Solomon mit seiner Musikalität und Intensität (…) Faszinierend, die musikantische Lust und vor allem die Souveränität und Flexibilität der Tongestaltung, mit der Ashley Solomon diese nicht leicht zu spielen Instrumente beherrscht. (…)

Elisabeth Richter

Operapoint

(…) Die Aufnahme läßt einen gut durchgestalteten Klangkörper erkennen, der viel Wert auf die farblichen Nuancen legt und den Sängern ihre Freiräume läßt. (…)

Dr. Daniel Rilling

HiFi & Records

(…) meist zügig voranschreitenden, teils gewichtigen, aber nie manieristischen Deutung. (…)

Uwe Steiner

Klassik.com 4 out of 5

(…) Unter Iván Fischer wirkt der Orchesterklang wieder einmal so ausbalanciert, dass wirklich rein gar nichts untergeht. Zudem bewegt sich Fischer mit ‚seinem‘ Budapest Festival Orchestra schon seit längerem auf Weltniveau, sodass sich jegliche Kritik an Spieltechnik oder ähnlichem eigentlich verbietet. (…)

Dr. Aron Sayed - Source

Musicweb International

(…) Robert Dean Smith has the power needed, and is also a sensitive singer who responds to the text and does his best to respect the composer’s dynamic markings.(…) the woodwind principals are absolutely outstanding, and the Budapest Festival Orchestra as a whole, one of the world’s very finest, makes a glorious noise. (…) Gerhild Romberger finds a certain coy flirtatiousness in the second song, as she describes the beautiful maidens plucking lotuses on the riverbank, and this is most attractive.

William Hedley - Source

The Sunday Times

Channel Classics 40020; Pentatone PTC 5186760
These two accounts of Mahler’s valedictory song-symphony feature the same tenor, Robert Dean Smith, who wields his Wagnerian tenor to strenuous effect. Fischer’s mezzo is the limpid German Gerhild Romberger, perhaps not quite as inside the music as Jurowski’s rich-voiced Sarah Connolly, but both conductors are top-flight Mahlerians.

HC

BBC Music Magazine 6.25 out of 5

(…) Superb Mahler interpreter (…) Fischer’s mezzo, Gerhild Romberger, is possessed of a world-class instrument, and makes a luminous, disembodied sound in her many meditative moments (…)

David Nice

Classica

4/5 Star Review

Yannick Millon

Gramophone

(…) As a reading it is everything one might expect of this seasoned Mahlerian – transparency, sensitivity and heart in abundance. (…)

Edward Seckerson

CD Choice

Fischer’s acclaimed Mahler cycle began in 2005 with the 6th Symphony and steadily emerged as one of the finest on disc, thanks not least to the superb 5.0 multi-channel DSD recordings engineered by Jared Sacks in the Palace of Arts, Budapest. (…) As has always been the case with this conductor’s Mahler performances we have here an account that is distinctive, yet free of any interpretive mannerisms, and marked by meticulous attention to the score. (…) Purposeful, sensitive conducting. (…) The sound here is exemplary; natural, detailed and clear, but never clinical.

Graham Williams - Source

Luister 8 6.25 out of 5

(…) groots van visie, prachtig van lijn, met volle aandacht voor de fraaie details zonder de lange spanningsbogen uit het oog te verliezen. (…) Deze dirigent dringt door tot het hart. (…) hoog reikende vertolking, exemplarisch opgenomen door – natuurlijk – Jared Sacks.

Gerard Scheltens

Noordhollands Dagblad 6.25 out of 5

Iván Fischer en zijn Budapest Festival Orkest scheppen een hemelse, veelkleurige, diep fonkelende klankwereld. (…) Deze opname getuigt van Mahlers besef dat de aarde zindert van eeuwig leven.

Hans Visser

The Classic Review

(…) Channel Classics maintains its reputation for audiophile quality recordings: orchestra and soloists perfectly balanced, the overall sound brilliant and rich. Fischer conducts with total authority and complete conviction.

Klassieke Zaken

(…) Fischer transformeert Das Lied von der Erde tot een aangrijpende kosmische ervaring (…)

HRaudio 6.25 out of 5

(…) As has always been the case with this conductor’s Mahler performances we have here an account that is distinctive, yet free of any interpretive mannerisms, and marked by meticulous attention to the score. (…) It comes as no surprise then to assert with confidence that both performance and interpretation find the conductor and orchestra at the top of their respective forms. (…) Even when judged by the state-of-the-art audio quality achieved on the earlier issues the sound here is exemplary; natural, detailed and clear, but never clinical.

Graham Williams

The Guardian

Iván Fischer’s Mahler cycle draws to a blazing close. Here’s a must-have for Mahler fans. (…) The BFO’s playing makes this a standout performance. It’s fresh and irrepressible, woodwind reedy and nasal, horns bright and heroic, strings brilliant, with the final “Der Abschied” a half-hour’s music of draining intensity.

MusicWeb International

I’ve had reservations about Iván Fischer’s Mahler in the past, but they have been resolved with repeated hearing. That was the case with his recording of the Fourth. There’s no need for me to take time to warm to his direction this time – I’m convinced by the interpretation, by Romberger’s and the orchestra’s contributions, and by the recording quality. If the DSD versions and the SACD are even better than the 24/96 stereo, they must be outstanding.

Brian Wilson

Het Parool

(…) Fischer behoort tot de interessantste dirigenten van deze tijd. (…) Het orkest speelt grandioos, zoals altijd, en met een unieke lenigheid, die door Fischer wordt benut met precisiewerk op de vierkante millimeter. (…) Door ragfijn spel van houtblazers weet Fischer enorme spanningen op te roepen. (…)

Erik Voermans