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Mahler: Das Lied von der Erde
Gustav Mahler, Hermine Haselböck, Markus Vorzellner
Mahler: Das Lied von der Erde
Genre: Classical
 
  •  Track Listings (6) - Disc #1

"A clear and straight voice with a lovely timbre." -- Opernglas Original version (1908) for tenor, mezzo-soprano, and piano recorded at its location of origin in Toblach (August 2008). Possibly the only issue of this versi...  more »

     
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CD Details

All Artists: Gustav Mahler, Hermine Haselböck, Markus Vorzellner, Bernhard Berchtold
Title: Mahler: Das Lied von der Erde
Members Wishing: 0
Total Copies: 0
Label: Cavi-Music
Original Release Date: 1/1/2009
Re-Release Date: 2/10/2009
Genre: Classical
Styles: Chamber Music, Historical Periods, Classical (c.1770-1830), Symphonies
Number of Discs: 1
SwapaCD Credits: 1
UPC: 4260085531257

Synopsis

Album Description
"A clear and straight voice with a lovely timbre." -- Opernglas Original version (1908) for tenor, mezzo-soprano, and piano recorded at its location of origin in Toblach (August 2008). Possibly the only issue of this version on the market!

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CD Reviews

'Das Lied' without an orchestra? Give a listen before you ru
Santa Fe Listener | Santa Fe, NM USA | 02/18/2009
(4 out of 5 stars)

"The last thing I ever expected to run across, much less enjoy, was a version of Das Lied von der Erde stripped of Mahler's magnificent orchestration. But one listens when art speaks, and the pianist here, Markus Vorzellner, has thoroughly mastered this score, and the two-stave reduction of such an intricate score turns out to be quite compelling. This performance doesn't sound like a rehearsal run-through. It's totally involving and poetic. I hope this pianist makes many more recordings.



As for the singers, both are just as passionately involved. Tenor Bernhard Berchthold throws himself into the daunting first song with real courage, singing out as heroically as if he were backed by an orchestra. He has a lean rather than a plush voice, but his attention to the words made me realize how crucial they are, and now we can hear every syllable. Mezzo Hermine Haselbock comes off at first as lacking inwardness, and her intonation can get a little queasy. But she, too, sings the words with personal conviction. She isn't the dramatic equal of her tenor counterpart, unfortunately.



In the end, there are enough shortcomings to keep this from being an essential Mahler recording, and I doubt that the feat will be attempted again any time soon. But without being a revelation, this version is an eye-opener."