Search - L.V. Beethoven :: Beethoven: Symphony 9 'Choral' (Mackerras)

One of the very best

John Marsilia | 06/25/2000

(5 out of 5 stars)

"It is a pity that this CD is not as widely available as it should. Mackerras's version is in overall the most satisfying of all interpretations of Beethoven Ninth following historic practices. The Liverpool orchestra's modern instruments might not have the sharpness of sound that makes the Gardiner performance refreshing. Mackerras's view might also not be as daring as Norrington's. But he manages to imbue all movements with a sense of purpose that culminates in a really soaring Ode to Joy. Tempos seem right, with the trio in the scherzo not too fast, the adagio flowing but not rushed, the alla marcia section in the finale joyful without being hard-pressed (as with Gardiner) or too ponderous (as with Norrington). Of course, his closest competitor is David Zinman, whose admirable Beethoven cycle also uses modern instruments. But the Liverpool orchestra produces for Mackerras a much crispier sound than the Tonhalle Orchestra Zurich does for Zinman."

An exceptional and exciting reading.

Geno Michelangeli | 09/24/2000

(4 out of 5 stars)

"I've thought long about awarding all 5 stars and it seems like this recording deservers all of them, however I believe that such should only be reserved for a truly outstanding performance. As I've heard and reviewed almost all of the Beethoven 9th's, this particular reading made me decide to do a review for Amazon for the first time. And what a reading it is! Sir Chales conducts an inspired account of this much recorded symphony with the Royal Liverpool PO using vibrato sparingly, keeping the soundstage exceptionally clear and transparent. Sir Charles has made a study of Beethoven's controversial metronome markings, even pointing out incorrect tempi (discussed in the booklet). Whatever your views on these may be, Sir Charles has made a recording that can compete with both traditional as well as period performances, getting the best of both worlds. Ofcourse I would like the finale to be just a bit more intense (marked prestissimo)as Bruno Walter did in his 1947 recording with the Columbia SO. Also, Peter Bronder(the tenor), could have sounded a little less strained at times. But with so much inspiration and a very good sound quality to boot, even the hifi-buffs need not hesitate."