Musik / klassiske symfonier

Symphony no. 2


Anmeldelser (65)


Classics today

2008

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David Hurwitz

2008

"The soft tam-tam in the first movement (and elsewhere) is excellently caught, for example, but the cymbals are oddly off-mike, and this robs some of the climaxes of the power that Eschenbach is clearly conjuring from everyone else. In all other respects, though, the playing of the Philadelphia Orchestra is pretty outstanding: rich strings, gutsy brass (as already suggested), and poetic winds (solo oboe particularly). Ultimately, with so many choices available at such a high level of interpretive and technical accomplishment, the question nowadays is not so much whether this is "the best" Mahler 2 available, but rather, does it offer enough special moments to reward repeated listening. Yes, it does".


AllMusic

2009

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Blair Sanderson

2009

"This release from Ondine by Christoph Eschenbach and the Philadelphia Orchestra holds more promise than many in the annual yield of Mahler recordings ... Yet, regrettably, this is just a respectable performance that has some fine touches, some genuine excitement in a few places, and a handful of subtle moments, but on the whole seems to be mostly competent, professional, and polished, not the sublime revelation of redemption that other conductors have delivered".


Kulturradio RBB

d. 9. okt. 2018

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Astrid Belschner

d. 9. okt. 2018

"Mariss Jansons ist ebenso Mahler-erfahren, wie der Chor und die Solistinnen ... So überzeugt in dieser Aufnahme nicht nur das Orchester mit seiner Tiefe, Kraft und Klanggewalt, sondern auch der Chor beweist wieder einmal mehr, dass er zu den besten Chören Europas gehört. Besonders die dynamische Bandbreite, gepaart mit Klangschönheit, Textverständlichkeit und Homogenität, gehört in dieser Einspielung zu den Stärken des Chores. So sollte diese Aufnahme in keinem CD-Regal fehlen!".


AllMusic

2010

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Blair Sanderson

2010

"Paavo Järvi's 2009 recording of Gustav Mahler's Symphony No. 2 in C minor, "Resurrection," features an excellent performance that succeeds in many ways, not least emotionally ... The performances of mezzo-soprano Alice Coote and of soprano Natalie Dessay are utterly beautiful, and the voices of the Orfeón Donostiarra are awe-inspiring".


Klassik heute

d. 2. apr. 2021

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Thomas Schulz (f. 1960)

d. 2. apr. 2021

"Nach einem etwas verhaltenen Beginn entfaltet sich unter Adam Fischers Händen eine hochdramatische, gleichwohl in jedem Takt atmende Interpretation ... Fischer hat - in den ruhigen Episoden - keine Angst vor Portamenti. Doch wirken diese niemals sentimental. Auch klanglich steht - noch - alles zum Besten ... Dies ist immer noch eine sehr gute Aufnahme von Mahlers Zweiter. Den metaphysischen Aspekt der Partitur verwirklicht Fischer überzeugender ... Doch klanglich ist die Einspielung nicht in den allerobersten Rängen angesiedelt".


MusicWeb international

2018 October

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Michael Cookson

2018 October

"Trust and empathy between an orchestra and conductor often take time to develop, if they develops at all, but here the strength of the relationship between the Symphonieorchester des Bayerischen Rundfunks and its chief conductor Mariss Jansons is palpable ... Throughout ..., the playing of the Bavaria orchestra is of an elevated quality and is intensely satisfying ...This live recording from the Philharmonie is highly impressive ... I find this an exceptional performance and one that provides Haitink with the stiffest competition".


MusicWeb international

2010 June

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Gavin Dixon

2010 June

"An impressive turn from both soloists, although it seems a frustrating waste of talent booking Natalie Dessay for such a small role. But both singers, and Dessay in particular, bring a sense of operatic bravado to the movement ... I've no specific complaints with any of the playing up to here, it is just a very middle of the road interpretation".


Politiken

d. 28. juli 2010

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Henrik Friis (f. 1978)

d. 28. juli 2010

"Den mægtige Symfoni nr. 2 med tilnavnet Opstandelsessymfonien viser Haitinks orkesterbehandling i fuldstændig balance. Alt er velklingende, og fokus skifter hele tiden logisk til de instrumenter, der bærer musikken fremad ... Man skal være et skarn for ikke bare at nyde Bernard Haitinks vel nok sidste dans med Mahler".


Jyllands-posten

d. 12. okt. 2006

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John Christiansen

d. 12. okt. 2006

"Fås ikke bedre, hvis det skal være den bedste tekniske kvalitet ... Det store orkester fylder stuen ud, men det kan være dér. Klangen er smuk og stærk med de enkelte instrumenter og grupper i en fin samlet balance ... Fischer dirigerer med naturlighed og spændstighed og får kontrasterne frem".


Politiken

d. 10. okt. 2006

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Thomas Michelsen

d. 10. okt. 2006

"Hvis der er en, der har fornemmelse for hans [Mahler] særlige tempoforskydninger, hans grelle orkester-special effects og hele hans storslåede symfoniske tænkemåde, så er det åbenbart Iván Fischer, for fy føj da, hvor den her Opstandelsessymfoni virker. Det er ikke følelsespersende som Bernstein. Det er lysår mere interessant end Abbado. Det er kort sagt forrygende ... Lige til at anbefale".


Politiken

d. 28. juli 2010

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Henrik Friis (f. 1978)

d. 28. juli 2010

"Järvi formidler den sammensatte musik som en lang fortælling mere end kølig struktur ... der kulminerer voldsomt i 35 minutters kaotisk død fulgt af engleblid lyserød genopstandelse ... Den glimrende mezzosopran Alice Coote overtager arenaen med en fjerdesats som en mørk og dunkel blanding af klagesang og vuggevise ... Paavos helt ekstraordinære skive".


Kristeligt dagblad

d. 23. mar. 2011

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Jakob Holm

d. 23. mar. 2011

"Det er anden gang, at Rattle indspiller symfonien (hans over 20 år gamle indspilning med City of Birminghamorkestret er berømmet), og han viser atter, at han er analytisk skarp, årvågen ... Spontanitet og friskhed er altså ikke, hvad man hører her, men smuk, velkoordineret og gennemarbejdet musik ... De to solister, Kate Royal og Magdalena Kozená, underbygger dette i al deres æteriske udtryksfuldhed, og også Berlins Radiokor fortjener ros".


Jyllands-posten

d. 11. juli 2006

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John Christiansen

d. 11. juli 2006

"Tror man, at Boulez dirigerer pedantisk, må man tro om. Han er blevet blød på sine ældre dage, uden at han har mistet sit klare strukturelle overblik. Wiener Philharmoniker spiller nærmest kammermusikalsk smukt".


BBC music magazine

2010 March

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David Nice

2010 March

"I would have welcomed more drive in the brass fanfares ... Christina Stotijn is a warm, personable observer, well matched later on by Miah Person".


Diapason

2009 avril

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Christian Merlin

2009 avril


BBC music magazine

2009 June

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David Nice

2009 June

"Eschenbach held me rapt at both ends of the dynamic spectrum, holding the tension almost as recommandingly as Bernstein (DG) through some very slow tempos".


Diapason

2018 novembre

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Christophe Huss

2018 novembre


BBC music magazine

2011 August

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David Nice

2011 August

"His limpid playing is a pleasure throughout these performances, as is the Odense Symphony Orchestra'a stylish contribution".


Fono Forum

2011 März

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Marco Frei

2011 März

"Einige Tempi, Instrumentierungen und Dynamikangaben sind kühne Klangerfindungen, die Jansons differenziert ergründet. Über einige gedenkte Tempi im Kopf- und Finalsatz liesse sich streiten, Ricarda Merbeth und Bernarda Fink meistern die Soloparts eindrüchlich".


BBC music magazine

2011 March

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David Nice

2011 March

"What raises this three-star performance a notch is ... the mezzo solo ... Bernarda Fink is the model of feeling gravitas".


BBC music magazine

2009 June

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David Nice

2009 June

"Masterful in illuminating the moment, less clear - to me, at any rate - about where it's heading or why".


BBC music magazine

2006 October

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David Nice

2006 October

"The orchestral sound is lean but not undernourished, allowing for even balance between contesting lines ... and a clearer than usual interplay between gleaming upper brass and woodwind ... admirers of this orchestra with a voice of its own will respect the freshness it brings to a familiar score".


Klassisk

2006, nr. 2

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Anders Brødsgaard

2006, nr. 2


BBC music magazine

2011 March

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David Nice

2011 March

"Here he brings even more light than was to be found in his perhaps more impulsive CBSO account ... A pity, then, that Magdalena Kozena's attempt for Rattle to play the rock-solid mezzo/contralto is only an interpersonations".


Fono Forum

2021 Juli

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Thomas Schulz (f. 1960)

2021 Juli

"Es ist die Tonhalle Düsseldorf, deren eingeschränkte Kapazitäten einfach nicht optimal für Repertoire in ausufernder choral-orchestraler Besetzung geschaffen ist ... Das ist umso bedauerlicher, als dass in den ersten drei Sätzen eigentlich alles bestens funktioniert: eine warm fliessende Tempogestaltung, wunderbar austarierte Spannungsbögen und ein sehr schönes Gespür für jene Dimension ... Aber ... besonders der finalen Auferstehung bleibt doch auf klangtechnischer Seite einiges im Argen".


BBC music magazine

2021 June

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David Nice

2021 June

"Distance and space are perfectly judged in the big canvas of the finale; among the excellent woodwind, the flutes conjuring the song of the nightingale against distant fanfares are as magically artistic as any I've heard, the ensuing chorus ideally hushed ... Fischer is let down only by his soloists".


BBC music magazine

2011 November

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David Nice

2011 November

"Both soloists, Michaela Schuster and Christiane Oelze, ooze meaning, as does the choir - but it doesn't sound as large or as meaty as the five listed ensembles promise ... Still, there are details here that I will return to constantly for illustration and enlightenment".


The gramophone

2010 February

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David Gutman

2010 February

"Vurdering: Editor's choice" - "Admirers of Haitink's Mahler should not hesitate to snap up this new recording".


Kristeligt dagblad

d. 27. maj 2002

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d. 27. maj 2002


High fidelity

2002 5

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2002 5


Berlingske tidende

d. 24. jan. 2002

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d. 24. jan. 2002


Berlingske tidende

d. 6. sep. 2003

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d. 6. sep. 2003


High fidelity (Kbh.)

Årg. 37, nr. 1 (2004)

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Årg. 37, nr. 1 (2004)


The gramophone

2018 December

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Peter Quantrill

2018 December

"This is a vividly miked Mahler Second, immaculately stage-managed and meticulously filled with local colour, also one that doesn't come close to painting the symphony's bigger picture ... Grotesque isn't a word in Jansons's expressive vocabulary ... Harteros is both glorious and gloriously secure at the long-awaited or at least intended point of spiritual uplift".


The gramophone

2011 August

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Edward Seckerson

2011 August

"Vurdering: Editor's choice - recording of the month: A performance of revelations, big and small, and easily the most illuminating to have appeared on disc".


International record review

2011 July/August

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Nigel Simeone

2011 July/August

"This is not an ideal "Resurrection" Symphony, but Jurowski is always compelling, and this concert performance is recorded in decent live sound".


International record review

2011 February

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Ian Julier

2011 February

"This symphony cries out for more. Its subject-matter demands a special occasion combining the visceral and the visionary; Jansons's sleekly efficient, struggle- and risk-free traversal achieves neither".


The gramophone

2011 April

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Edward Seckerson

2011 April

"Beauty in abundance".


The gramophone

2009 March

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David Gutman

2009 March

"Singing without scores the London Symphony Chorus are on unambigously great form. Other factors make this much more a souvenir of a thrilling night out than a serious contender for the library shelves".


Politiken

d. 15. juni 1999

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d. 15. juni 1999


The gramophone

2006 awards

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Edward Seckerson

2006 awards

"Vurdering: Editor's choice" - "Stylistically, Fischer is right on the money. He has a keen nose for Mahler's particular brand of tempo rubato - the ebb and flow of the music, the way it speaks ... and best of all Fischer really breathes in the atmosphere of Mahler ... But the crowning glory is, as it should be, the finale - and it is here that Fischer, his performers and his engineer, really excel ... Impressive".


High fidelity (Kbh.)

Årg. 39, nr. 7 (2006)

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Mogens Wenzel Andreasen

Årg. 39, nr. 7 (2006)


Kristeligt dagblad

d. 3. dec. 2001

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d. 3. dec. 2001


The gramophone

2011 March

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Edward Seckerson

2011 March

"Vurdering: E - Editor's choice" - "Beauty and sound comes alive in the hands of the Berlin Philharmonic".


International record review

2011 February

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Richard Whitehouse

2011 February

"As before, Rattle places considerable weight on this audacious conflation of tone-poem ... and sonata-form ... Rattle's quest to render the work as both symphonic and spectacle cannot be deemed wholly succesful, though, in so doing, his is undoubtedly a reading of as well as for the present".


Jyllands-posten

d. 22. feb. 2000

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d. 22. feb. 2000


Politiken

d. 26. mar. 2000

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d. 26. mar. 2000


The gramophone

2021 June

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Edward Seckerson

2021 June

"He's a very sympathetic and clear-headed Mahlerian whose nose for beauty and atmosphere ... is not always in step with his sense of the music's newness and daring ... On the credit side, Fischer's ... quietudes throughout produce a real edge-of-seat suspense ... Nadine Weissmann ... brings an affecting soft touch to the still maternal voice of the 'Urlicht' and Fischer's vision of the Resurrection finale is stage-managed to perfection ... Let's just say I emerged from Fischer's performance more stirred than shaken".


The gramophone

2012 October

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Rob Cowan (f. 1948)

2012 October

"Vurdering: Gramophone choice" - "The strings have a warmly cosseting quality, the winds are mellifluous, the brass powerful but cleanly focused ... The voices are well balanced and Haitink's willingness to let the music breathe while never allowing it to sag (just listen to how the first movement gains momentum) benefits Mahler's structural design ... A great recording, then".


High fidelity (Kbh.)

Årg. 37, nr. 8 (2004)

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Årg. 37, nr. 8 (2004)


Klassisk musik

2004, nr. 12

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2004, nr. 12


The gramophone

2011 Awards

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Ken Smith

2011 Awards

"A "Resurrection" that starts well but loses intensity on disc 2".


Jyllands-posten

d. 15. aug. 2000

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d. 15. aug. 2000



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