Mahler: Das klagende Lied [Hybrid SACD] [Hybrid SACD - DSD]

Sergei Leiferkus (Performer), Gustav Mahler (Composer), Michael Tilson Thomas (Conductor), Michelle DeYoung (Performer), San Francisco Symphony Orchestra (Orchestra), Marina Shaguch (Performer), Thomas Moser (Performer) | Format: Audio CD

Product Details

• Performer: Sergei Leiferkus, Michelle DeYoung, Marina Shaguch, Thomas Moser
• Orchestra: San Francisco Symphony Orchestra
• Conductor: Michael Tilson Thomas
• Composer: Gustav Mahler
• Audio CD (September 11, 2007)
• Number of Discs: 1
• Format: Hybrid SACD - DSD
• Label: Sfs Media
• ASIN: B000TS1750
• Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #237,339 in Music (See Top 100 in Music)

Track Listings

1. Medley: 1st Movement: Waldmarchen/Langsam Und Traumerisch

2. Medley: 2nd Movement: Der Spielmann/Sehr Gehalten

3. 3rd Movment: Hochzeitsstuck/Heftig Bewegt

Customer Reviews

Most Helpful Customer Reviews

7 of 9 people found the following review helpful:

3.0 out of 5 stars A reissue, in updated SACD, of Tilson Thomas's original version, April 14, 2009

By 

Santa Fe Listener (Santa Fe, NM USA) - See all my reviews
(TOP 500 REVIEWER)    (HALL OF FAME REVIEWER)   

This review is from: Mahler: Das klagende Lied [Hybrid SACD] (Audio CD)

MTT decided not to remake Das Klagende Lied for his complete Mahler cycle with the San Francisco Sym. Instead, his RCA release from 1997 was licensed back to the orchestra's house label and remastered in SACD sound.

Without a multi-channel audio system I can't comment on the new presentation, but here's a review of the performance as originally released--

Although Mahler enthusiasts enjoy it, the youthful Klagende Lied hasn't found a concert audience--or much of one at Amazon, to judge by the lack of reviews for this CD. Tilson Thomas made it in 1997 when he was a PR darling in San Francisco, and it was a brave choice. His reading of the original three movements is crisply played and features a good deal of excitement, but it's all revved up on the surface. We get little sense of fantasy and mystery, which are crucial.

Also, despite the lovely singing of a youthful Michelle DeYoung, the other soloists are variable--Leiferkus sings clotted German with a Slavic timbre, and the tenor, Thomas Moser, sounds strained and baritonal. This was the first Klagende Lied I ever heard, and I'm grateful to have moved on to more convincing versions, such as Boulez's 1970 recording on Sony.