Musik / klassiske symfonier

Symphonie Nr. 7


Anmeldelser (49)


RBB Kultur

d. 2. juni 2021

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Kai Luehrs-Kaiser

d. 2. juni 2021

"Vielerorts fast als Provokation aufgefasst, debütiert ... Kirill Petrenko hier ... beim neuen Label des Bayerischen Staatsorchesters in München ... Und das mit Mahlers Siebter, dem grössten Sorgen- und Schmerzenskind des gesamten Mahler-Repertoires. Das Orchester hat nicht sonderlich viel Erfahrung damit. Petrenko noch weniger. Geht das ins Auge? Nein".


AllMusic

2009

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Blair Sanderson

2009

"Jansons and the orchestra brilliantly produce the astonishing array of colors and effects Mahler exploited in this symphony, nicknamed "The Song of the Night" for its vivid series of nocturnal images ... this is a fine rendition of what may be Mahler's quirkiest symphony, and it is well worth having".


The guardian

d. 11. sep. 2009

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Tim Ashley

d. 11. sep. 2009

"It all comes over as marvellously cogent, the only flaw perhaps being that the ­finale, with its chattering counterpoint ­modelled on Wagner's Meistersinger, seems a bit too long. It's fabulously played, too, with all of the Tonhalle's trademark ­no-nonsense refinement".


The guardian

d. 4. dec. 2014

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Andrew Clements (musikanmelder)

d. 4. dec. 2014

"The score has its moments, particularly when the sheer exuberance of the writing and the almost naive delight in its orchestral and choral effects exert their own charm. Isaac Karabtchevsky does a good job in keeping everything shapely and well balanced, though at times that's nearly impossible, and as part of Naxos's series devoted to Villa-Lobos's symphonies, it's certainly worth exploring".


The guardian

d. 29. juli 2021

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Andrew Clements (musikanmelder)

d. 29. juli 2021

"Petrenko has made so few recordings that this is bound to be compelling listening, but it's also a fascinating interpretation of Mahler's most challenging symphony in its own right, never missing a textural detail, and strictly observing all of the score's dislocations and abrupt tempo changes. It may not always be a comfortable experience, but it is a riveting one".


Presto classical

2013

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2013

"This release sees the continuation of Stenz's Mahler cycle. The seventh symphony was completed in only four weeks and is recorded here in a live recording from Cologne, June 2012".


MusicWeb international

2018 January

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Dan Morgan (musikanmelder)

2018 January

"As some conductors age they get slow and self-indulgent - Leonard Bernstein comes to mind - but ... Jansons, 'only' in his seventies ... no ramble or rhetoric here, just a varied, powerful and properly focused sign-off that makes sense of everything that's gone before; in this weird, wall-eyed symphony, that's really quite rare. And full marks to producer/engineer Everett Porter and his team for such a magnificent recording ... A performance of pronounced character and contrast; is this a game-changer for Jansons?".


Politiken

d. 6. jan. 2009

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Henrik Friis (f. 1978)

d. 6. jan. 2009

"Der er så meget information i denne musik, at øregangene er fuldstændig mættede, hver gang Gergjev tillader en lille pause til vejrtrækning. Det skaffer han til gengæld ofte plads til, og det er cd'ens styrke. Fuld fart frem med hovedet under armen og så en ægte pause, når kollapset er lige ved indfinde sig ... Og de spiller godt nok godt. Halsbrækkende messingmelodier, et klippefast drive og så uendeligt mange små, store individuelle præstationer".


Kristeligt dagblad

d. 4. okt. 2021

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Peter Dürrfeld

d. 4. okt. 2021

"Der er mange spændende elementer i den fortolkning, som den nu 49-årige Petrenko her lancerer. Især kan man nyde de mange raffinerede blæsersteder, som komponisten har strøet ud over symfonien. Optagelsen, der stammer fra en liveoptagelse i Nationalteatret i München maj 2018, er også lydteknisk glimrende, og da den lille bog er smukt illustreret og passende informativ, er der absolut tale om en anbefalelsesværdig udgivelse, selvom den ikke har så megen kant som andre fortolkninger".


Politiken

d. 13. juli 2021

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Thomas Michelsen

d. 13. juli 2021

"Nu går operahuset i München og dets orkester ... ud med en ny profileret serie af album med stærke liveoptagelser. Udgivet på eget plademærke og til at købe på nettet. Den første udgivelse er Mahlers krasse, men også nattebløde og mystiske 7. symfoni, som Kirill Petrenko indspillede live med orkestret ... Petrenko ... får musik ud af hver eneste af Mahlers mange skærende klange, messingskrigende fanfarer og nattebløde fuglefløjt i den fem kvarter lange symfoni ... Man kan ikke andet end beundre Petrenkos sjældne musikalitet og forrygende dirigenthåndværk".


Jyllands-posten

d. 7. nov. 2014

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Jens Povlsen

d. 7. nov. 2014

"Energien, som Dudamel og Simón Bolívar-orkestret kan producere, er enestående, men helt vellykket bliver det aldrig i Mahlers 7.Symfoni. Lige så snart begejstringen over energifråset har lagt sig, tager musikken af i fart".


Information

d. 3. aug. 2021

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Valdemar Lønsted

d. 3. aug. 2021

"Gustav Mahlers syvende symfoni ... På nyt album får den en kongenial fortolker i dirigent Kirill Petrenko, der illuminerer et bemærkelsesværdigt orkesterværk, der ellers er svært tilgængeligt ... En fabelagtig nyudgivelse ... En liveoptagelse fra Bayerns Statsopera i 2018 (udgivet 2021) med husets orkester under dets daværende russiske chefdirigent Kirill Petrenko (f. 1972), hvis lederskab Berliner Filharmonikerne i dag nyder godt af. Opførelsen udmærker sig ved et ekstremt dynamisk orkesterspil, symfonien veksler til overflod i instrumentation, styrkegrader og artikulationsmåder, og det er mærkbart, at musikerne fra München vil gå gennem ild og vand for deres dirigent".


Jyllands-posten

d. 27. dec. 2005

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John Christiansen

d. 27. dec. 2005


Diapason

2006 avril

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Jean-Charles Hoffelé

2006 avril


BBC music magazine

2006 May

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David Nice

2006 May

"Supreme vigilange, as always, is the keynote to its success; and Barenboim is never bland or boring".


BBC music magazine

2008 September

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Stephen Johnson (f. 1955)

2008 September

"Vurdering: BBC music choice - Vurdering: Disc of the month" - "Hand on heart, I can't think of another recording of this symphony that not only brings so many of its extraordinary feaures to life, but also balances them".


Klassisk

2021, nr. 62

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Andrew Mellor

2021, nr. 62

"Det er svært at overse denne udgivelse, der er indpakket i et lyserødt omslag. Og det ønsker du heller ikke. Bayerisches Staatsorchester og dets afgående chefdirigent Kirill Petrenko byder på en elegant og fængslende opførelse af Mahlers mindst værdsatte symfoni. Mahlers Symfoni nr. 7 fortjener dog ikke at blive negligeret ... Vi hører en meget velovervejet opførelse, hvor Petrenkos arbejde med rytme, artikulation og farve afslører alle de vidunderlige stemninger i Mahlers partitur uden på noget tidspunkt at overbetone dem ... Petrenkos palet af stemninger og farver, hans fornemmelse af intimitet og formål ... gør hans indspilning ... vellykket".


Fono Forum

2021 August

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Götz Thieme

2021 August

"Es versteht sich, dass alle wichtigen Soli der Streicher, der Holzbläser, von Horn sowie Trompete makellos ausgeführt werden, klangschön und eloquent artikuliert sind ... Petrenko ist ein Detail-arbeiter. Die Balance, Artikulation und Dynamik sind für eine Live-Aufführung von hoher Disziplin".


Fono Forum

2019 Mai

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Götz Thieme

2019 Mai

"Die Emotion aber ist bei Fischer und seinen phänomenalen Musikern ... immer eine aus dem Notentext geborgene ... Endlich einmal spukhaft, böse huschend gelingt das Scherzo, duftig die zweite Nachtmusik, detailliert, doch räumlich von der Tontechnik abgebildet".


Diapason

2019 juin

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Christophe Huss

2019 juin


BBC music magazine

2019 June

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David Nice

2019 June

"Orchestral choice: Fischer contrasts gracious, chamber-textured dances with brilliant fanfares and toppling masses to absolute perfection. Throughout there's a transparency to the recorded sound, even in the heftiest passages, which is beautifully underlined by natural, state-of-the-art recording".


BBC music magazine

2010 January

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David Nice

2010 January

"BR Klassiks capture the full warmth of the Bavarian ensemble".


BBC music magazine

2014 February

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David Nice

2014 February

"Above all, Stenz makes no moves unlicensed by the demanding score, and his ear for immaculate balances is reflected in a recording which keeps everything in natural perspectives ... You need more than one recording of [Mahler no. 7] ... and this should be among them".


BBC music magazine

2012 June

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David Nice

2012 June

"This performance may not be quite as incandescent as the same team's recent Third Symphony, but it's still well up to the overall standards of Bamberg's Mahlerian success story".


BBC music magazine

2009 November

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David Nice

2009 November

"The Swiss know how to do carnivals in style, but they just don't topple into near anarchy as do Rattle's or Abbado's players. Altogether admirable, but not the whole, wild story".


BBC music magazine

2014 Christmas

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David Nice

2014 Christmas

"Gustavo Dudamel pulls it off, but suffers in comparison with the very best on disc. His familiar tendency to bump in tempo changes robs the first movement of its gearing-up to a lurid, night processional, though the final climax certainly blazes ... The ending carries the joy that only a live performance can bring. That merits four stars and a permanent place on the CD shelves".


Klassisk

2012, nr. 24

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Per Rask Madsen

2012, nr. 24

"På denne nye cd startes der lidt tøvende. Ligesom man kan spørge sig selv om, hvad Mahler egentlig vil med 1. satsen, synes Israel Filharmonikerne og Zubin Mehta heller ikke at have fundet et helt tilfredsstillende svar. Orkestret spiller i international klasse ... så ens ører skærpes ved 2. satsens finurlige linjer og hemmelighedsfulde facon ... de skønne træblæsere i Israel Filharmonikerne kommer til deres ret her".


BBC music magazine

2018 June

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David Nice

2018 June

"It's always been a joy to hear the sheen of the Royal Concertgebouw in performances from the orchestra's own concert hall. This sounds as glorious as previous principal conductor Riccardo Chailly's Decca spectacular, and it has one palpable gain: Mariss Jansons, whose spirit seems to me to incline more to the light than to the dark".


Fono Forum

2018 Juni

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Christoph Vratz

2018 Juni

"Der Hörer ... kann bei dieser neuen Einspielung ohne zu zögern zugreifen. Sie ist in sich rund, ja brillant. Jansons kannt jeden Takt aus dem effeff, das verschrobene, das Spukhafte, den Weltschmerz und zuletzt das Marschartige, dann Überbordende im FInale. Die Amsterdamer spielen ... mit grosser Hingabe, warm timbriert wie immer und exzellent aufeinander abgestimmt".


BBC music magazine

2015 November

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Bayan Northcott

2015 November

"Those who share his [Maazel] apparent conviction that the only way to renew these familiar scores is to emphasise and push to extremes their every dynamic marking or tempo modification will find many moments of expressive force or vivid texture to admire here. But the drawback of this approach is that it tends to interrupt flow and the large-scale unfolding of form".


International record review

2006 April

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Michael Tanner (musikanmelder)

2006 April

"Daniel Barenboim ... gets a very satisfying perfomance out of the Staatskapelle Berlin ... Warner Classics have produced a superbly rich and full perspective, and the disc amounts ... to a top recommendation".


The gramophone

2008 October

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David Gutman

2008 October

"Much is paced a notch faster than usual, though not the introduction which is spacious and strong. The playing is consistently assured; the sound powerful immediate. The reading has a monolithic drive that is nothing if not distinctive. What Gergiev doesn't deliver is a sense of this music's teeming inner life".


International record review

2008 September

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Ian Julier

2008 September

"Gergiev consistently pushes the music hard, which can produce some thrilling results ... Gergiev supplies plenty of thrills without the spills, but by no means the whole story. For that in a live recording, look no further than the recently released Tennstedt concert from the 1980 Edinburgh Festival".


The gramophone

2021 August

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Edward Seckerson

2021 August

"Recording of the month - Editor's choice: I really thought I knew this work - every facet of it. But Kirill Petrenko has a way of hearing deep into textures and harmonies that is at times really quite startling ... This is an auspicious first release for the Bayerisches Staatsorchester's own label and whichever favourite version of the symphony you might have in your collection - be it Bernstein or one of the Fischers, perhaps - Petrenko demands to be heard and attention paid".


The gramophone

2019 April

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Edward Seckerson

2019 April

"Recording of the month - Editor's choice: I honestly can't remember hearing a performance of this extraordinary symphony that was so plainly in love with its ethos, its originality, its sonority. Iván Fischer reads the 'small print' of the score with such thoroughness that he makes most other readings feel like generalisations by comparison. It's one of those performances that makes one think of the piece differently, and that in itself is cause for celebration and reassessment ... There is a joyousness about this account that tells you not just how much Iván Fischer loves this symphony but how he loves it unconditionally".


Opus

2019, nr. 90

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Axel Lindhe

2019, nr. 90

"Utan tvekan är Fischer en mästare i att förena Mahlers alla olikartade infall till en fungerande helhet. Och hans fantastiska Budapest Festival Orchestra ... har stor del i detta. Som vanligt spelar ensemblen med stor virtuositet och härlig nyans- och färgrikdom ... Tillsammans med bland annat tredje och fjärde symfonin är den här inspelningen utan tvekan en av de mest lyckade tolkningarna i den här serien".


The gramophone

2009 December

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Richard Osborne (f. 1943)

2009 December

"As always with Janson's Bruckner, the performance is broadly based yet purposeful. As to the Bavarian playing, it is admirably resolute, albeit a touch tired-sounding in the symphony's perotion".


Berlingske tidende

d. 24. jan. 2002

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d. 24. jan. 2002


The gramophone

2013 September

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Peter Quantrill

2013 September

"The speeds that make Markus Stenz's new recording such a jolly romp are further italicised by the heavy tread of the first movement's idyllic interlude and a massive allargando for the finale's peroration ... [Stenz] explore the tensions of the Nachtmusik movements through a flexible, quasi-Brahmsian handling of intermezzos that hide much more than they reveal".


International record review

2013 October

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Nigel Simeone

2013 October

"Vurdering: IRR outstanding" - "I've greatly enjoyed some of the earlier instalments in Markus Stenz's Mahler cycle ... but this new Seventh strikes me as the best of the lot: a stunningly effective account of the work ... This is a terrific disc. Anyone ... will surely love it".


The gramophone

2012 June

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Edward Seckerson

2012 June

"For once there is only one huge climax, and that's the final swell into the well-laden flashback of the symphony's opening movement. One to hear - and superbly engineered, too".


Kristeligt dagblad

d. 3. juni 2002

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High fidelity

2002 5

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The gramophone

2014 October

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Rob Cowan (f. 1948)

2014 October

"Intellectual entertainment on an epic scale - which isn't to say Dudamel lacks emotional depth ... Dudamel and his orchestra spin some very refined textures ... Interesting at the start of the lovely second Nachtmusik how clearly Dudamel underlines the violas' appoggiatura and how effectively he traces the music's relatively subtle course".


International record review

2012 February

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Michael Jameson

2012 February

"This newcomer from Zubin Mehta and the Israel Philharmonic Orchestra sets out an uncommoncly rational and compelling case for this unjustly maligned work ... Mehta's account is urgently propulsive and, for the greater part, very cogently argued".


The gramophone

2017 January

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Edward Seckerson

2017 January

"The "other" Fischer boldly goes where his younger brother has enjoyed such conspicious succes - and Adam, with his excellent Düsseldorf Symphony, may well be one up on Iván whit this compelling account of Mahler's outlandish Seventh ... The magic descend in those inner movements, with their exotic and sometimes wild evocations of the nocturnal world ... But best of all - and this might be the most succesful account that I have ever heard of it - is Fischer's chronicling of Mahler's bonker finale ... If only the first movement had delivered like that we'd be looking at even more of a front-runner".


The gramophone

2015 September

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Rob Cowan (f. 1948)

2015 September

"So a bit disappointment, given that the previous two volumes of this cycle had so many good points ... This set is mainly valuable for those who attended the Southbank concerts".



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