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Ralph Moore
MusicWeb International, November 2018

A new, live-composite recording in ideal sound from a young conductor which breathes new life into a work still somewhat disregarded, performed by firstrate artists in a score which combines the best of the original and revised versions. © 2018 MusicWeb International

Ralph Moore
MusicWeb International, August 2018

The dramatic sweep of conductor Cormelius Meister’s direction gives greater coherence and urgency to the whole work—he shaves off some seven minutes compared with, for example, a previous recording by Tilson Thomas and is four minutes faster than Chailly—and makes the customary omission in performance of the first movement until the early 70’s all the more puzzling, as here it emerges as captivating.

Meister’s soloists as a whole are superior, the recording is much more immediate, and he manages to bring far more punch and immediacy to proceedings, confirming the impression of blandness…

This magnificent recording breathes life into a work often dismissed as mere juvenilia when it is clearly so much more. © 2018 MusicWeb International Read complete review

Paul L Althouse
American Record Guide, May 2018

…it is strongly cast, with very good soloists and chorus, all nicely controlled by Meister, who has an affinity for large-scale works from the late romantic era. The orchestral interludes are beautifully played; and the moods, whether of the forest or the wedding, are well captured. © 2018 American Record Guide Read complete review on American Record Guide

David Shengold
Opera News, March 2018

The Vienna Radio Symphony’s youthful conductor Cornelius Meister leads a glowing reading. The work’s four lead vocal soloists are a well-matched, idiomatic crew, though they lack glamorous timbres. Soprano Simone Schneider’s bright instrument capably weathers the storms Mahler’s score unleashes. The most striking vocalism here comes from Frankfurt-based Tanja Ariane Baumgartner, one of today’s few legitimate dramatic mezzos. Heldentenor Torsten Kerl doesn’t have the most beautiful voice, but here he gets the (tough) job done cleanly, and sings softly as well as cuts through the heavy orchestration. Adrian Eröd commands real artistry, if not particularly beautiful tone. © 2018 Opera News Read complete review

Huntley Dent
Fanfare, January 2018

Coming as it does from a live event, Meister’s account feels involved and immediate. There’s really nothing to complain about. The four main vocal soloists enact their parts well, as do the orchestra and chorus. The veteran Torsten Kerl is a standout in the testing tenor part, delivered in ringing, secure tones. Can Meister’s reading match the best of its predecessors? As music drama, I’d say yes; this is an exciting hour of storytelling. © 2018 Fanfare Read complete review, December 2017

The moody and careful scoring brings out the lugubrious story well, and the performers under Meister handle the material with clarity and sensitivity, resulting in an effective musical exposition and expansion of the material. © 2017 Read complete review

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