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BBC Music Magazine, April 2018

Bernard Haitink’s first recording of Mahler’s Third Symphony was half a century ago in Amsterdam. The view hasn’t changed too much—a measured survey of the immense opening movement through to a mesmerising account of the great final Adagio—but the playing of the Bavarian Radio Symphony is outstanding, and beautifully captured in concert. © 2018 BBC Music Magazine



David Gutman
Gramophone, August 2017

…Bernard Haitink knows how to pace Mahler’s lengthiest piece, albeit to rather different effect. …In what must be the conductor’s fifth (or is it sixth?) commercial recording, his Bavarian Radio forces boast the kind of assurance and fine tuning unavailable anywhere on the planet when he first taped the work in mid-1960s Amsterdam.

While the performance feels most engaged when the music is in repose, the inner movements are more than adequately eloquent. © 2017 Gramophone Read complete review on Gramophone



Stephen D Chakwin Jr
American Record Guide, July 2017

Romberger is an outstanding alto soloist: her voice is rich and steady and beautifully dark in tone. Her expression is superb as well. She’s in the same league as Haitink’s previous altos, which is to say first-rate.

…this is a wise and beautiful performance of this work… © 2017 American Record Guide Read complete review on American Record Guide



Huntley Dent
Fanfare, May 2017

This is a deeply knowing reading, …Every moment testifies to Haitink’s quiet authority and his ability to extract great music-making when he seems to be stepping back.

When he’s “on,” Haitink communicates the spirit of the music because of his close rapport with his players. There’s a relaxed flexibility that’s totally unregimented. © 2017 Fanfare Read complete review




BBC Music Magazine, May 2017

Bernard Haitink is the finest living interpreter of the big symphonies… © 2017 BBC Music Magazine



John Quinn
MusicWeb International, April 2017

There’s a lot going for this performance. For a start, the playing of the BRSO is superb in every department and the excellent recording does their playing justice: we can hear lots of vivid detail and the weight and heft of the performance really registers.

Whilst I can’t quite overcome my reservations about Haitink’s way with the first movement, …I readily acknowledge that on its own terms it’s an interpretation of the movement that commands respect, especially since this BRSO performance is technically very fine. The remainder of the symphony is marvellously done. If you already have the CSO Resound recording I think you can rest content; the differences between the two are not significant. This BR Klassik release, expertly engineered and wonderfully played, offers a distinguished reading of Mahler’s Third. Haitink’s performance may not shake the rafters but it is clearly the product of decades of accumulated Mahlerian wisdom. © 2017 MusicWeb International Read complete review



Daniel Foley
The WholeNote, February 2017

This is Bernard Haitink’s most recent recording of Mahler’s monumental Third Symphony, preceded by a boatload of discs from his days leading Amsterdam’s Concertgebouw (five versions) and subsequent recordings with the orchestras of Berlin, Chicago and London. Despite his apparent affection for Mahler’s work in general and this symphony in particular, his name does not often rise to the top of the list in this repertoire as often as those of Bernstein, Kubelik or Abbado. This latest incarnation may settle the score in this regard, thanks to the excellence of the Bavarian Radio Symphony Orchestra in this splendidly recorded disc. Haitink is particularly fine in the central sections of this sprawling six-movement work, the lengthiest symphony in the standard symphonic repertoire. © 2017 The WholeNote Read complete review




David Hurwitz
ClassicsToday.com, February 2017

Haitink has given us one unambiguously great version of the work—his first. …The playing is generally fine, from the solo trombone in the first movement to the oboe in the second, the posthorn in the third, and the soft strings in the finale. Gerhild Romberger sings some mean Nietzsche in the fourth movement, and the choirs sound lovely in the brief fifth.

It almost goes without saying that Haitink paces this difficult piece like the pro that he is. © 2017 ClassicsToday.com Read complete review




Blair Sanderson
AllMusic.com, February 2017

This 2016 release on BR Klassik finds Haitink leading the Bavarian Radio Symphony Orchestra in a stirring live performance that shows no diminishment of the conductor’s interpretive powers, and compares quite well with his previous renditions. Joined by mezzo-soprano Gerhild Romberger, the Augsburger Domsingknaben, and the women of the Bavarian Radio Women’s Choir, Haitink explores the symphony’s extraordinary mix of musical styles and genres, and ties them all together in an exuberant reading that is compelling from beginning to end. …Highly recommended. © 2017 Allmusic.com Read complete review




Remy Franck
Pizzicato, January 2017

Haitink takes more time for his Third Mahler than most of his colleagues and even as he himself in his first recording from 1966. Yet, one never has the impression that the tempi are too slow, since the music is played at a most natural pace. The orchestra musicians, the choir singers and the excellent mezzosoprano Gerhild Romberger are totally committed to the conductor, and so the music breathes magnificently and with a deep spirituality. The sound recorded is spacious and well balanced. © 2017 Pizzicato




Michael Cookson
MusicWeb International, January 2017

On this BR Klassik release the Symphonieorchester des Bayerischen Rundfunks, under distinguished conductor Bernard Haitink, plays Mahler’s Third Symphony in live concerts at Philharmonie, Munich. A greatly experienced Mahlerian, Haitink first recorded the Third Symphony fifty years ago, back in 1966, as part of a complete cycle with the Concertgebouw on Philips. Here Haitink presides over a quite magnificent rendition of this awe-inspiring work. © 2017 MusicWeb International Read complete review





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