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3 of 4 people found the following review helpful:
3.0 out of 5 stars
Fatally flawed, 24 Nov 2004
I have always been a great admirer of Bernstein and grateful to him for his part in bringing Mahler back into the repertoire. But in his later years self-indulgence and waywardness blunted the urgency of his music making. This is immediately evident in the Resurrection, with tempi so slow as to render one almost comatose. The sense of a long span from beginning to end is just not there and the bridge collapses early on in the proceedings. Only at the great outbursts do we see the old Bernstein appear but that is just not enough to sustain the performance, which sags all the way to its dramatic finish. There is none of the emotional surge that one should feel at the work's close, none of the awe that the really great performances bring. Altogether a huge disappointment.
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1 of 2 people found the following review helpful:
5.0 out of 5 stars
A true resurrection, 4 Nov 2001
By A Customer
Mahler's 2nd symphony is the best choral symphony ever written, along with Beethoven's 9th. It tears your heart out and puts it back again. It is powerful enough to twist and play with your emotions from beginning to end, and Bernstein doesn't exactly hold the emotional power back on this subtle recording.
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5.0 out of 5 stars
An overwhelming "Resurrection" from Lenny and his New Yorkers, 19 May 2009
If you've taken the trouble to seek out a review of a not particularly cheap, 20-year old recording of this mighty symphony then you probably have some experience of Messrs Bernstein and Mahler already.
You'll probably know that Bernstein was an inspired Mahler interpreter, that he had a long and illustrious relationship with the New York Philharmonic and that he had a tendency, in his later years, to stretch the music out to a sometimes unprecedented length.
These are all evident in this recording. I think it's the longest Mahler 2 on record, clocking in at a whopping 93 minutes, but I find this recording much easier to live with than Bernstein's similarly expansive Amsterdam Mahler 9. Here, you get a sense of epic drama and, in the finale, overwhelming grandeur.
The New York Phil plays exceptionally well throughout. Some of the tam-tam strokes are disappointing (at times, sounding a little like someone bashing a tea tray!), but the warm, weighty sound of the NYPO brass more than makes up for that. The Judgement Day epsiodes of the Finale are particularly thrilling, with a simply massive expansion of brass sound in the passage just before the two huge percussion crescendoes, followed by a perfectly-paced "March of the Dead" with beautifully clear, tolling bells and, later, well-placed offstage brass bands.
Towards the end, the superb Westminster Choir's hushed choral entry opens out into an utterly jaw-dropping climax; the slowest, grandest, loudest and most emotionally-overwhelming account I've ever heard, live or on record. It sounds like a few hundred of them were on stage and the huge, extended cries of "Sterben" and "Aufersteh'n" (the latter underpinned by a rich, throbbing organ tone) are breathtakingly powerful. Just before, Barbara Hendricks and Christa Ludwig combine well, although I find the duet of Arleen Auger and Janet Baker (for Simon Rattle) more beautiful. Rattle also gets a clearer, more natural-sounding recording from EMI; this DG recording sounds a little close and "thick" at times, in comparison, but don't let that put you off.
There are some quite moving reviews of this set on Amazon.com by people who were lucky enough to be in the audience when this recording was made. Some of them struggle for the words to explain how elated and overwhelmed they felt at the end. I think that's how you should feel at the end of a successful performance of this splendid work. I just wish I'd been there.
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