Sinfonie 2 Auferstehungs-Sinf. Import
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'…in a word stunning. At once personally involving and profoundly moving, this traversal finds her expertly marshalling highly accomplished forces through this 80-minute confrontation with life, death and the hereafter with such unwavering conviction that the ultimate triumph is never at issue.' --International Record Review, May 2012
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Happily, Young's musical instincts serve her well, and she can phrase in such a way that your attention is held. I like her Mahler, from bar to bar, better than Alsop's. But too much feels generic, and the Hamburg Phil. is an unimpressive orchestra. Mahler without intensity doesn't come off, no matter how lovely the flow of the music. Young doesn't dig beneath the surface, as nice as the surface is.
Conductor Simone Young hardly puts a foot down wrong any place, with the exception of two very slight interpretive shortcomings. In the vocal movement, "Urlicht", Young opts to have the brass choir that answers the mezzo-soprano's first statement placed far offstage ("O Roschen Rot"). I literally had to go over to the stereo and turn it up. That in itself wasn't such a bad thing, but then the brass were suddenly back on stage when they answered the mezzo's full stanza (and here they join in with her too). This is not a terrible mistake by any means, but it does have an odd sort of, "first you can't hear them, now you do", effect to the proceedings. The other slight problem is that the big climax to the fifth movement's long march section falls more than just a bit flat (with percussion underplayed at that spot).
However, Young is in good company as many conductors have suddenly, and woefully, turned gun-shy at that critical juncture. But in the end, I'm an 'all's well that ends well' type of guy, and the orchestral postlude to the symphony is quite good here (after the choir cuts out). That said, however, the deep bells suddenly become inaudible (played on tubular chimes). Then again - and to make up for that small shortcoming - the alternating salvos from the high and low pitched gongs (tam-tams) are very well captured. Nice sounding organ too. All of the choral work sounds just fine to me, and the Hamburg Philharmonic - an orchestra that I'm not at all familiar with - plays exceedingly well.
So while this new "Resurrection" doesn't float anywhere near the top of the list, one could do a whole lot worse as well. I like Young's no-nonsense conducting of the first three movements, but the scherzo also captures a sufficient amount of Mahler's sense of humor and irony as well. I enjoyed listening to this performance, and it would be quite comfortable for 'every day' listening. It just lacks that greater sense of occasion that the best recordings of Mahler 2 present. For single disc versions, I would stick with either Klemperer of Zubin Mehta (I like Klemp's live one he made with the Bavarian Radio Orchestra and Janet Baker).