Gustavo Dudamel's
rise to fame has been rapid, and his exceptional abilities have been
extolled by musicians and critics alike; figures as prominent as Simon
Rattle, Daniel Barenboim, and Claudio Abbado
have praised his conducting, and he has been the subject of numerous
glowing articles in the media, notably Time Magazine and The New York
Times. So how does this youthful Venezuelan conductor fare in his 2006
recording of Gustav Mahler's
Symphony No. 5 in C sharp minor? Due to its phenomenal popularity, this
piece has become an acid test for conductors everywhere, and recording
it has practically become de rigueur, so Dudamel faces a great deal of
competition from the myriad recordings on the market. Yet he makes his
version with the Simón Bolívar Youth Orchestra of Venezuela
noticeable in three important ways. First, he freely shapes the music
with an elastic sense of phrasing, using a great deal of rubato in the
service of Mahler's wide mood swings, apparently in an attempt to stay
true to the spirit of the music, if not necessarily its letter.
Secondly, Dudamel's
approach is quite dramatic and sweeping, and his prolongations of
gestures for dramatic effect and distinctive scene-painting make the
symphony feel cinematic, almost as if Mahler had composed it to
accompany a film. Third, the orchestra shows high energy and volatility,
signs that Dudamel
has inspired it to a high level of enthusiasm and bravura playing. All
this is good to an extent, as far as flexibility, theatricality, and
excitement always work in performances of Mahler's Fifth. However, there
are perhaps too many distinctively shaped moments, as if Dudamel
has played with moods and effects too much, and not paid sufficient
attention to ensemble cohesion, pacing, and significant details in the
orchestration that must be drawn out. One may get the feeling that he
tried too hard to make this performance stand out from all the rest, and
in the process delivered a Fifth that doesn't really hold together
through its internal logic, but depends far too much on the conductor's
whims and personality. This CD may appeal to some uncritical Mahler
fans, but since there are many better recordings, don't let it be the
only one you hear. (Blair Sanderson)Gustavo Dudamel's
rise to fame has been rapid, and his exceptional abilities have been
extolled by musicians and critics alike; figures as prominent as Simon
Rattle, Daniel Barenboim, and Claudio Abbado
have praised his conducting, and he has been the subject of numerous
glowing articles in the media, notably Time Magazine and The New York
Times. So how does this youthful Venezuelan conductor fare in his 2006
recording of Gustav Mahler's
Symphony No. 5 in C sharp minor? Due to its phenomenal popularity, this
piece has become an acid test for conductors everywhere, and recording
it has practically become de rigueur, so Dudamel faces a great deal of
competition from the myriad recordings on the market. Yet he makes his
version with the Simón Bolívar Youth Orchestra of Venezuela
noticeable in three important ways. First, he freely shapes the music
with an elastic sense of phrasing, using a great deal of rubato in the
service of Mahler's wide mood swings, apparently in an attempt to stay
true to the spirit of the music, if not necessarily its letter.
Secondly, Dudamel's
approach is quite dramatic and sweeping, and his prolongations of
gestures for dramatic effect and distinctive scene-painting make the
symphony feel cinematic, almost as if Mahler had composed it to
accompany a film. Third, the orchestra shows high energy and volatility,
signs that Dudamel
has inspired it to a high level of enthusiasm and bravura playing. All
this is good to an extent, as far as flexibility, theatricality, and
excitement always work in performances of Mahler's Fifth. However, there
are perhaps too many distinctively shaped moments, as if Dudamel
has played with moods and effects too much, and not paid sufficient
attention to ensemble cohesion, pacing, and significant details in the
orchestration that must be drawn out. One may get the feeling that he
tried too hard to make this performance stand out from all the rest, and
in the process delivered a Fifth that doesn't really hold together
through its internal logic, but depends far too much on the conductor's
whims and personality. This CD may appeal to some uncritical Mahler
fans, but since there are many better recordings, don't let it be the
only one you hear. (Blair Sanderson)
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