Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček#8217;s first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

Peter Grimes in Nice

Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.

Guillaume Tell in Monaco

Peasants revolt in a sea of Maserati and Ferrari’s.

LA Opera Presents Figaro 90210

Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.

Tristan und Isolde at the Wiener Staatsoper

David McVicar’s production of Wagner’s seminal music drama runs aground on the Cornish coast.

Songs of Night and Travel, Wigmore Hall

The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.

Andrea Chénier, Royal Opera

Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.

Yevgeny Onegin in Warsaw

Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing

Orfeo at the Roundhouse, Royal Opera

The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.

Idomeneo in Montpellier

Vestiges of a momentous era . . .

L’elisir d’amore in Marseille

There were hints that L’elisir is one of the great bel canto masterpieces.

Das Liebesverbot opens the new season at Teatro Verdi in Trieste

Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.

Amsterdam: Lohengrin Lite

Stage director Pierre Audi is not one to be strictly representational in his story telling.

Fidelio, Manitoba Opera

For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

Fidelio opens new season at La Scala

Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.

Mahler Songs: Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

OPERA TODAY ARCHIVES »

Reviews

EMI Classics 5-01228-2
12 Oct 2011

Simon Rattle’s Mahler 9

Recorded between 24 and 27 October 2008 at the Philhamonie in Berlin, this release offers the dynamism of a concert performance with the sound quality associated with EMI’s fine recordings.

Gustav Mahler: Symphony no. 9.

Berlin Philharmonic, Sir Simon Rattle, conductor.

EMI Classics 5-01228-2 [2CDs]

$15.99  Click to buy

Some interpretations of Mahler’s Ninth Symphony benefit from live recordings, and Rattle’s is one of them, with tempos and textures that convey the score as vividly as Mahler composed it. The details of the score are important, as evident in the fair copy of the work, which was not yet performed when Mahler died. Those who have had the privilege of examining that manuscript, though, are aware of the revisions that it contains as the composer annotated it thoroughly. In contrast to the earlier draft score, which contains some personal exclamations, about youth, love and farewell, the fair copy lacks such indications. Instead, it contains details of scoring, articulation, expression, and phrasing that convey instead the vitality of the music, which emerges with appropriate style in this recent recording of the work.

As much as many have special feelings about the “Finale” of the Ninth, the first movement stands out a seminal work that bridges the Romantic world and twentieth-century music. In this recording Rattle offers a thoughtful reading of the first movement, which lasts almost twenty-nine minutes. It is a spaciously planned performance that unfolds convincingly, with the musical logic behind the score evident in its execution, with the brief motifs found at the beginning of the movement clearly defined so that the musical narrative proceeds logical from the opening as the larger themes of the exposition take shape. The details of accompanying figures, including fanfares, glissandi, and other elements support the thematic content of the piece likewise have their place, as the contrast between smaller musical ideas and the larger structure becomes a dynamic feature of Rattle’s interpretation. More importantly, the sense of line, of musical continuity, is always apparent in this performance.

A similar masterful interpretation guides the performance of the two inner movements, with the second benefitting from the fine playing of the Berlin Philharmonic as it renders the details of the score with nuance and delicacy. The various orchestral colors remain as distinct in the performance as they occur in Mahler’s score. Tempos are likewise fluid, as Rattle brings the score to life as convincingly here was in the first movement. The sometimes angular lines in the low brass are characterized well, without the result ever seeming grotesque or otherwise departing from the fine sense of style that emerges from this performance.

The brass section brings this kind of finesse to the third movement, which has a sense of urgency that guides the ideas as they unfold. Here the woodwinds demonstrate their fine timbre and sense of ensemble in the textures Mahler scored carefully in this music. As clear as the details appear in this performance, they serve the line, which supports Rattle’s keen sense of the musical narrative in a virtuosic performance of the “Rondo-Burleske.”

Yet it is the “Finale” that many listeners recall strongly, and here Rattle offers a reading that supports the score without lapsing into heart-on-the-sleeve sentimentality. In following the details of Mahler’s score, Rattle serves the sense of music well, as it rich textures and full sonorities of the work are rendered vividly. The tone is entirely appropriate to the tempos, as it is possible to hear the articulation of chords and pitches resonate well throughout the movement. This interpretation is consistent with the elegiac sense that emerges in Rattle’s performances of “Der Abschied” in Das Lied von der Erde, a sense that is all the more admirable for the lack of verbal text in the Ninth to serve as a guide. The contrasts of texture and dynamics support the music line, which is clearly presented here as in the other three movements of this exemplary performance of Mahler’s Symphony no. 9. The conclusion complements the first movement, with the dynamic tension sustained through the final pitches, as they dissolve into silence at the end of this remarkable recording.

This is Rattle’s second recording of Mahler’s Ninth, with the other released separately and later reissued as part of the set of the composer’s symphonies by the conductor. As strong as the earlier recording may be, the second merits attention for subtle differences that it contains. The exceptional playing of the Berlin Philharmonic allows Rattle to create an outstanding recording of this masterpiece.

James L. Zychowicz

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):