Notes & Reviews:
Das Lied is considered the most personal of Mahler's works. It represents a synthesis of the two great pillars in Mahler's oeuvre, the symphony and the song. Coote and Fritz are the best-known soloists for this work, and they perform it with top orchestras all over the world.
The Guardian, 23rd May 2013
[Coote's] singing may not be as sumptuous as some, but it is exquisitely coloured; every word matters, and the sadness that pervades the mezzo songs in particular is conveyed without it ever becoming self-conscious or sentimental...well worth hearing, especially for Coote's contribution.
American Record Guide, September/October 2013
Fritz has a medium-weight voice with some ring and some sweetness. He shapes his lines nicely, especially in the first song's nightmare vision of the howling ape. It's a pleasure to have real attention to word. He lightens his voice for the third song with an elegant gently over-the-top languor in the trio section. I love the variety of tone he uses for the high notes in the fifth song and the contrast between the lyrical birdsong section and the vigorous outer parts. He does a lot with the words without losing the flow of the music. There's art in abundance here. I enjoyed his singing and will go back to it for pleasure. Coote's voice is light in weight and texture. Her phrasing is extraordinary. In the second song, Mahler sets the line "goldnen bluetter der lotosbluethen auf dem wasser ziehn" (golden petals of lotos flowers will float by on the water) with a silence in the voice part between the words "wasser" and "ziehn". It's a subtle and beautiful touch. Coote's handling of that moment is perfect. She is able to sing the two words and catch the silence between them in a way that lets you hear (and appreciate) the stop. Even the big phrases "Ich komm zu dir" and "Sonne der Liebe" aren't blasted. They're restrained, autumnal, and followed by gorgeous quiet singing. The chamber music of voice and woodwinds intertwining as equals late in the song is lovely, making the little coda. Coote's gentle, attentive approach is, of course, perfect for the fourth song. Coote's phrasing of the opening of the last song is awe and pleasure. She builds long arcs and lets the flute and then the other instruments play against them. The last eight minutes of the last song are gorgeous and deeply moving, from the cloudy sound she finds for "Er sprach", to the radiance of "Die liebe Erde", to the intense and barely sounded final "Ewigs". The Netherlands Philharmonic sounds fine. Lovely liquid flute, gently edged oboe, round dark clarinet, fine woody bassoons (and solid contra). If you want this in great sound and one that you will be able to listen to over and over, this should do the job for you.
Gramophone Magazine, December 2013
Coote takes Dame Janet Baker's rapt introspection to a new level; Fritz has the vocal stamina but can seem a little ungainly...[Albrecht's] vocal exhortations inspire sympathetic playing even if the sadness, loss and ultimate serenity of 'Der Abschied' remain the special province of his soloist.
Recording information: Beurs van Berlage, Yakult zaal, Amsterdam (06/21/2012-06/22/2012).
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Works DetailsMahler, Gustav : Das Lied von der Erde
- Performers: Alice Coote (Mezzo-soprano); Burkhard Fritz (Tenor)
- Conductor: Marc Albrecht
- Ensemble: Netherlands Philharmonic Orchestra
- Notes: Beurs van Berlage, Yakult zaal, Amsterdam (06/21/2012-06/22/2012)
- Running Time: 62 min. 19 sec.
- Period Time: Post Romantic
- Form: Vocal
- Written: 1908-1909