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Lynn René Bayley
Fanfare, November 2012

This Mahler Ninth shoots to the top of digital recordings, showing not only the younger generation of fast-and-clean-and-bloodless conductors how it’s done, but also supercedes previously good issues by Tilson Thomas and Zander. In fact, this is a Mahler Ninth on par with the best versions of the past…

This new version is not only warmer but also clearer, little details emerging with remarkable audacity. Moreover…it captures Haitink in his real element.

Forty years of orchestral improvement also plays into this disc’s excellence…we…hear superb playing even from Irish and Bolivian orchestras.

At a time when most people’s funds for extras are down and record-buying has become expensive, this single-disc Mahler Ninth makes economic as well as musical sense.

If you love this symphony, this is a reading you really should hear; and if you’ve been waiting for a good, modern, digital recording of it on one CD, this is the reading you ought to own. © 2012 Fanfare Read complete review

Rob Cowan
Gramophone, October 2012

Bernard Haitink’s nobility as a Mahler interpreter benefits the Resurrection Symphony like no other, a fact attested by numerous recordings, of which this extraordinarily moving Dresden performance is the most recently released…the strings have a warmly cosseting quality, the winds are mellifluous, the brass powerful but cleanly focused, while the closely balanced timpani have great impact…The voices are well balanced and Haitink’s willingness to let the music breathe while never allowing it to sag…benefits Mahler’s structural design. The Resurrection craves goal-oriented interpretation, the sort that from the very start keeps you primed for those humbling final pages, so that the sense of potential catharsis remains securely in place—which it certainly does here. A great recording, then… © 2012 Gramophone Read complete review on Gramophone

Michael Cookson
MusicWeb International, September 2012

Haitink and the Bavarians are compelling and deeply perceptive. Indeed this reading ranks alongside the finest. The sound is clear and well balanced and this adds to the considerable merits of this splendid release. © 2012 MusicWeb International Read complete review, August 2012

Bernard Haitink, one of the great Mahler conductors, has led and recorded this work often enough to have had a variety of different perspectives on it. The new release from BR Klassik…has an exceptionally intense and heartfelt first movement, filled with grief. From the start, this movement pulls listeners into a world of regret, which only deepens—although not quite all the way into depressive gloom—as the movement progresses. The second movement is an exceptionally effective contrast, its pastoral simplicity offering comfort through closeness with nature: the movement almost rocks the listener into repose, although, again, it never quite attains the feeling toward which it seems always to move. The second half of this performance is not quite as effective as the first, although it is still very fine. Haitink shapes the music so well and keeps it flowing so smoothly that the passage of time soon becomes irrelevant as he immerses himself, the orchestra and the audience in a conclusion that, far from being emotionally wrenching, eventually brings a sense of calm mixed with inevitability. As a whole, this is a convincing and often lovely performance, very well and stylishly played… © 2012 Read complete review

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