Search - Mahler, Thorborg, Ohman :: Das Lied Von Der Erde (Amsterdam October 5 1939)

The Greatest "Das Lied" on records.

01/06/2000

(5 out of 5 stars)

"The vastly-underrated Schuricht was an expedient choice for this concert; Mengelberg was still in Switzerland, and Walter and Monteux were not available. Half the critics came expecting to dislike the performance; but those who approached it with open ears wrote of its rhythmic intensity, its superlative phrasing, its deep emotional pull, and the fine singing of the two principals. Carl Oehmann, a well-respected dramatic tenor of the 1920s and '30s, had the distinction of having coached both Jussi Bjorling and Nicolai Gedda. Though 52 at the time, he was in great voice, able to produce both the necessary power in his high range and delicacy of interpretation. Thorborg, whose studio recordings made her voice sound pinched and brittle, really opens up here with some beautiful, Christa Ludwig-like singing.The orchestra's performance is miraculous--they sound cleaner and more cohesive than they did under Mengelberg. Schuricht includes one or two moments of Viennese "gemuchtlicht," but overall his style is cleaner than Bernstein or Barenboim, more exciting than Horenstein, Haitink or Oue, and more detailed than Kletzki, Klemperer, Walter, Levine or even Giulini (my second choice in this work). In several places, particularly "Von der Jugend," he manages to simulate the sound and rhythmic feel of Chinese instruments. Though surface swish occasionally creeps through in soft passages (notably in the 11-14-minute section of "Der Abschied"), the sonics are very good by today's standards, incredible for 1939. One can hear the buzz mutes of the background trumpets, the stays on the French horns and the reverberance of the harp strings with astounding clarity.At about 19:46 into "Abschied," a bespectacled woman in black stepped forward to the stage apron and said, "Deutschland uber alles, Herr Schuricht," obviously an admonition to the German for daring to conduct the work of a Jew. Some audience members hissed and whistled at her, and she left. Fortunately, the whole incident takes but a few seconds, does not interrupt or break the mood of the performance, and in fact Thorborg accomplishes her last, soft entrance with magnificent aplomb. The final die-away on "ewig" is sung and played with great delicacy.If you are looking for a great "Das Lied," look no further; even if you think your "Das Lied" is the greatest, this recording belongs in your collection. You will NOT be sorry you bought it!"