Klagende Lied Import
Tilson Thomas plays the now traditional edition of the work that unites the original Part One with the revised versions of Parts Two and Three. Now that the originals of the second and third parts are in print, it's possible to do the whole thing in Mahler's original version, but this will always be a matter of personal choice. And though musical scholars now have another cause to yak about, in a performance as good as this one, it really doesn't matter. Thomas has clearly thought hard about how this music should be played, and he has his singers and players attacking the music with blazing conviction. This is the finest available recording of this work in this edition. --David Hurwitz
Indeed, I can find few reasons not to recommend the version at hand. Tilson Thomas leads a performance of riveting drama and glittering power, while almost completely avoiding sugary sentimentality. Mahler's (perhaps less than fully formed) ideas come across as individually striking but also adding up to a fully coherent work. The San Francisco Symphony Chorus and Orchestra are apparently on top form, and the quartet of soloists is generally very good. Michelle DeYoung is wonderful, and I cannot really complain about Marina Shaguch either; with respect to the male soloists, however, I agree with the other reviewers here that Thomas Moser occasionally sounds strained (though he is generally very compelling), but Sergey Leiferkus is very satisfying throughout. The sound is excellent as well, smooth but with plenty of warmth and detail. In sum, then, this release is enthusiastically recommended, and although my sample size is admittedly limited I do not think I have heard a better version of this fascinating music.
The sing is some of best given to this work. At times however Thomas Moser sounds strained...mostly in the high range. The choral work is outstanding in everyway.
With the possible exception of the Chailly recording, it seems clear that this is the finest recording out in the market.
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.