There are over 200 available recordings of Mahler’s symphony No. 2 (“Resurrection), and here are two more, played by orchestras that have rarely recorded Mahler. Marvelous performances of his music can come from unexpected sources (many from the recent Düsseldorfer Symphoniker/Ádám Fischer/Avi, for example.) But it is important to note these new releases enter a field of classic recordings from Amsterdam, Berlin, Budapest, London, San Francisco, and Vienna (to name just six) that are, at least in part, successful because of a long-established Mahler pedigree.
The Hallé’s recording dates from January 2025 (live, with patches from rehearsals). The engineering, like other productions from the orchestra’s own label, is consistently excellent. Conductor Kahchun Wong’s introductory note describes learning from recordings by Tennstedt, Mengelberg, and the composer’s own piano rolls, which led me to expect generous flexibility of pulse and heart-on-sleeve emotions. But his first movement feels lethargic and drawn out, lacking the sustained intensity of Bernstein (NYPO/DG), Tennstedt (LPO/LPO Live) and Rattle (CBSO/Warner). While Wong’s monumental conception gives room for much inner detail, it also underscores the Hallé’s lack of tonal heft.
The reading is more successful in quieter, more inward moments. The Andante Moderato is gently wistful, its closing pizzicato section intensely charming. The Scherzo brings fabulously characterful playing from the orchestra (wonderfully acerbic clarinets and trumpets), capturing the ironic humor of St. Peter’s sermon to the fishes. “Urlicht” is solemn and richly colored, but Connelly’s pronounced vibrato, is distracting; Baker (Rattle) and Ludwig (Bernstein) are far more affecting.
The Finale opens with tremendous power (with a fabulous gong stroke), distant brass perfectly judged. The following episodes have vivid character, but the percussion-laden crescendo (9’47”), representing the dead rising from their tombs, does not match the terror conjured by Tennstedt and Rattle. And at 15’20”, Wong keeps the orchestra on a tight leash as they flee the approaching army – Armageddon has arrived, surely disciplined, tidy playing should not be the priority.
The flute’s Nightingale is ravishing, as is the choir’s first entrance. But Soprano Masabane Cecilia Rangwanasha should have chosen a lighter approach, using less vibrato. Her first entry lacks the ethereal beauty of Hendricks (Bernstein), the duet at 29’30” never reaches the ecstasy of Hendricks and Ludwig (Bernstein). Wong’s Bernstein-like tempo for the final “Aufersteh’n” stanza requires unique inspiration and intensity. Real bells (borrowed from the Royal Liverpool Philharmonic) add as extra thrill to the orchestral coda.
Resurrecting Sydney
The Sydney performance (recorded live on July 20 and 21, 2022 in the newly renovated Sydney Opera House) was done by the Australian Broadcasting Corporation and licensed to Universal Music/DG. The engineering is perfectly good for broadcast but does not match the Manchester recording. Balances are sometimes strange: the principal trumpet stands out in the crushing dissonant chords that conclude the first movement’s Development; the principal flute seems to have its own microphone; percussion is often lost (bells barely register). Climaxes thicken and because of the close microphone placement, slips of ensemble stands out.
Yet Young’s interpretation has a compelling dramatic narrative; there is a greater sense of occasion that adds extra frisson to the reading. While technical imperfections and a less than state-of-the-art recording may eventually prove bothersome, listening to these performances back-to-back, I was moved more by Young’s interpretation and the passion she draws from her performing forces. She recorded the symphony before, in Hamburg (2012, Oehms Classics); the reading is a few minutes faster but lacks the conviction and intensity of this new reading.
The three Australian choirs gathered for the occasion occasionally sound timid during the quiet sections, and their climaxes never quite reach the heights that Young manages to achieve with the orchestra. While they don’t quite match the soloists mentioned above, I found mezzo-soprano Deborah Humble and especially soprano Nicole Car much more adept at handling Mahler’s challenging soundscape. Both singers are seamlessly integrated with the orchestra and choirs, possibly due to their extensive past collaborations with Young on the Sydney Opera’s productions.
The Sydney performance includes another work: “Of the Earth,” specially commissioned for the hall’s reopening from Australian composer William Barton. The piece (written for large orchestra, youth and adult choirs, and soprano soloist) is meant to instill a sense of unity among the diverse peoples of Australia. It is tonal, audience-friendly and substantial, which makes it more frustrating that DG does not include the text.
Both recordings include excellent liner notes, with a full roster of both singers and players. In short, these recordings are solid, engaging performances that would make hometown fans of each orchestra proud – the enthusiastic applause of the audience is heard at the end of both albums. Had I attended either concert, I would have left pleased and excited. But, for repeated listening at home, neither performance reaches the excellence of recordings by Bernstein, Tennstedt, Rattle, Klemperer (Warner Classics), Iván Fischer (Channel Classics), and Mehta (Decca).
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Album Details |
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|---|---|
| Album name | Mahler – Symphony No. 2 (“Resurrection”) |
| Label | Hellé |
| Catalogue No. | DCD34334 |
| Artists | Sarah Connolly (mezzo-soprano), Masabane Cecilia Rangwanasha (soprano), Hallé Orchestra, Hallé Choir, Hallé Youth Choir, Kahchun Wong (conductor |
Album Details |
|
|---|---|
| Album name | Mahler – Symphony No. 2 (“Resurrection”) |
| Label | Deutsche Grammophon |
| Catalogue No. | 4876841 |
| Artists | Deborah Humble (mezzo-soprano), Nicole Car (soprano), Sydney Symphony Orchestra, Simone Young (conductor) |
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