Learn more Download now Shop now Shop now flip flip flip Shop now Learn More Shop now Shop now Shop now Learn more Shop Fire Shop Kindle Learn More Shop now Shop now Learn more

Customer reviews

4.2 out of 5 stars
Mahler: Das Lied von der Erde
Format: MP3 Download|Change

TOP 100 REVIEWERon 24 April 2014
There is every reason to celebrate the LPO as perhaps the best orchestra in London these days; I hear them regularly in the renovated Royal Festival Hall and can attest to their form under Leader Pieter Schoeman; certainly to my ears they are getting better and better. The same may be said of their conductor here, for whom I have not always had unqualified praise but, following his stupendous concert-performance of Mahler's Ninth Symphony recently, I have increasing admiration.

It is also good to hear the elegant British tenor Toby Spence a year before he was diagnosed with thyroid cancer from which he has now thankfully staged a recovery. He has an intrinsically beautiful voice and even if he is pushed to his limits in this music, it is a pleasure to hear him singing so well rather than having to endure another wobbly Heledentenor barking his way in ungainly fashion hrough "Das Trinklied". He is more in the Wunderlich mode than the style of James King or Kaufmann; a lighter, more youthful sound but with just enough heft to cope and no throatiness. He is matched by the equally lovely full and rich voice of Sarah Connolly; she is of course more of a soprano than the usual mezzo and she does not perhaps probe the meaning of the texts as deeply as some predecessors but it is nonetheless a delight to hear such steady, pure-toned singing. She is rapturous in the "Der Abschied".

The live sound is excellent: very few coughs and the perfect balance between orchestra and voice. I find Nézet-Séguin's tempi and phrasing ideal. Some find this performance under-stated; I must say that I really enjoy its fresh, unpretentious directness.
One person found this helpful
|33 Comments|Report abuse
on 28 December 2013
I heard the performance on BBC R3 from the RFH and hoped that there would be a successful LPO CD produced. It exceeds expectations. Sarah Connelly ab fab!
One person found this helpful
|0Comment|Report abuse
on 11 October 2013
Das Lied von der Erde has benefited from an outstanding series of recordings ever since Bruno Walter's of the late 1950s, but none are more outstanding than this. In all respects, this is a magnificent achievement.

The range of expression created by all inspire the fire, drunkenness and bravura of life itself, the twilight and shadows of night as well as our dreams and sorrows, all imbued with those untouchable mists that are completely at one with the oriental mystery.

Few tenors have matched the youthful ardour achieved by Toby Spence. This is singing of fulsome passion that generates spine tingling excitement. Somehow this voice captures the youth and beauty we associate with the much-missed Fritz Wunderlich, combining it with a new energy and bravura that engages us right from the start.

Then there is Sarah Connolly, whose exquisiteness of voice and innate musicianship transcends all we have previously known. Every word, each and every phrase, each line is etched within the context of the whole. This is a performance not only entirely at one with Mahler's intense vision, but it allows us to enter the realm of each song with a magic that seems so spontaneous yet is so totally informed by a seeming wisdom of age.

The colours achieved by the London Philharmonic Orchestra are exceptional, each colour combined with faultless balance and nuance to achieve a bejeweled quality. This is both a grand orchestra capable of creating a terrifying roar yet a chamber group in which each player responds to his or her counterpart with innate understanding. Yannick Nezet-Seguin establishes himself as a conductor of rare insight. He leads, he accompanies and he clearly inspires and responds to his soloists and orchestra with a flare that is going to set new standards in the minds of those who hear this recording.

This is a 'live' recording, but one hears barely a shuffle or cough. It possesses a transparent luminosity that allows us to hear so much of this glorious work. The energy is palpable; the sheer beauty of it leaves its mark profoundly. By the end, we have truly journeyed far and have questioned our current understanding of the rich tapestry of life. We are left enriched, inspired yet also emotionally wrung out.

A remarkable and wonderful achievement.
27 people found this helpful
|11 Comment|Report abuse
on 14 February 2014
Lovely music exquisite singing. This is a beautiful version of heart-stopping music. It is so good to hear that Toby Spence is now singing better than ever and Sarah Connelly is always wonderful.
One person found this helpful
|0Comment|Report abuse
on 29 October 2013
Another edition of Mahler's Song Symphony.
The soloists are excellent, especially Toby Spence - the best since Wunderlich!
A real addition to the Select Mahlerian's shelves.
|0Comment|Report abuse
VINE VOICEon 9 September 2015
I feel there are better interpretations.
|0Comment|Report abuse
on 6 November 2013
A fine performance but perhaps not quite up tp the standard of classic recordings. The orchestra performs particularly well here.
One person found this helpful
|0Comment|Report abuse
on 2 November 2013
any lover of Mahler should purchase this Cd, soloists and orchestra top class special mention for Tenor Toby Spence's contribution
One person found this helpful
|0Comment|Report abuse
on 11 December 2013
Recordings of Das Lied von der Erde are like buses... indeed, for all the many accounts of the Symphonies appearing on labels around the world, recordings of Mahler's late symphony-cum-song cycle crop up less frequently. Now, after Marc Albrecht's sterling effort with Alice Coote, Burkhard Fritz and the Netherlands Philharmonic Orchestra earlier this year comes this lovely if more muted account from the LPO, Sarah Connolly and Toby Spence, under Yannick Nézet-Séguin.

Spence is a confident Anglo-Saxon tenor soloist. He offers an assured middle ground between the operatic and Lieder-like tones of his various predecessors, though the first song lacks the air of true desperation suggested by the text. He bounces suitably coyly through 'Von der Jugend' and strides out afresh in 'Der Trunkene im Frühling' though he could offer a more emasculated view of masculinity.

Sarah Connolly is typically heartrending. What 'Der Einsame im Herbst' lacks in abject eeriness it more than makes up for in luxurious appeal. Yet Connolly's own contribution to the work's adumbrated Scherzo, 'Von der Schönheit', is perhaps too rich. It is impossible not to be moved by 'Der Abschied'. Here Nézet-Séguin takes more time, allowing the woodwind solos to something more improvisatory, eerily wrapping themselves like bindweed around Connolly's silver-throated though anguished pleas.

And yet, while the LPO plays well throughout, the performance never reaches absolute fever pitch. There is a superb sense of communication between the various instruments in the Finale, yet the grave return to C minor is played down to the point of anticlimax. Some may enjoy hearing this work as if through a gauze, but ultimately I prefer Marc Albrecht's more headstrong account. Its ability to project a truly anguished mood in the opening songs, as well as basking in the more picturesque passages, makes the final farewell all the more desolate.
3 people found this helpful
|0Comment|Report abuse
on 15 January 2014
I was at the concert. You could have heard a pin drop: the LPO woodwind were outstanding, Sarah Connolly and Toby Spence were both in very fine voice and the conducting attended to the colour and detail of the score. The Abschied was the highlight: Connolly took us on a journey of intense pain and beauty. At the end there was a long silence that we did not want to break.

Well done to all concerned! Thank you for releasing it.
One person found this helpful
|0Comment|Report abuse

Need customer service? Click here