DLvdE MTT/SFSO...outstanding in every way

[Nathaniel]

Indeed, the Haitink RCO 1995 recording is terrific and Hampson is amazing. But I'm not sure that it's Hampson's "aging voice" that is the problem with the Tilson-Thomas recording. I've heard Hampson live last year. His voice was fine. It's his star-like attitude and lack of real commitment that is the problem. It feels more like he may have lost some of his heart more than his voice. Also Tilson Thomas is no Haitink. Again, for a more recent one I highly recommend seeking the Welser-Most Cleveland Kaufmann-Maltman recording from last year.

...Hampson with MTT really is just plain bad, and I resent the use of Das Lied as a vehicle for aging, over-the-hill artists...
Best,

Dave H

I'm not sure how accurate it is to say the he was matched to this recording as a vehicle for an aging, over-the hill artist.  I don't particularly care for Hampson on this specific recording either, but very much like his previous two efforts at DLvdE (Rattle, Haitink/Mahlerfest).  So it's not as if he is coming to this piece of music late in his career.  Let's face it, Hampson has always sung a lot of Mahler works.  He's just done it better on his previous efforts. 

[barry guerrero]

Perception is everything. To my ears, Hampson sounds as though he's trying to compensate for a small amount of vocal degradation by over-interpreting everything; often times conjuring up phrasing and diction that sounds over-done, mannered, and too fussy. If anything, it sounds to me as though he's compensating by trying to put too much heart into everything.

By the way, one of my very best Mahler 3rds is a "pirate" of a live performance with Welser-Most/Cleveland. The mezzo wasn't great, but everything else was fabulous.

[Nathaniel]

Actually I agree with you about putting too much heart into it (another way of saying less heart, if you know what I mean). It's a fine point, but Hampson just seems to me to have become a diva later in his life. He is taking himself too seriously. When you compare his Mahler recordings with Bernstein for example to the later ones, like his Mahler commercial DVD, the latter (especially with the visuals and all the mannerisms) is such a turn off. Anyway, what I'm saying is that I kind of agree with you although I'm not sure it's about losing his voice technically (and over-compensating), but maybe that's part of it too.

By the way, also the Haitink Mahler 6 from that same 1995 Amsterdam Mahlerfest (or"feest", I guess -- in Dutch) is fantastic and one of my absolute favorite M6's.

Perception is everything. To my ears, Hampson sounds as though he's trying to compensate for a small amount of vocal degradation by over-interpreting everything; often times conjuring up phrasing and diction that sounds over-done, mannered, and too fussy. If anything, it sounds to me as though he's compensating by trying to put too much heart into everything.

By the way, one of my very best Mahler 3rds is a "pirate" of a live performance with Welser-Most/Cleveland. The mezzo wasn't great, but everything else was fabulous.

[Nathaniel]

YES! Fantastic! Really really long, right? I LOVED it. Gotta listen to it again. Who was the singer (I don't remember)??

By the way, one of my very best Mahler 3rds is a "pirate" of a live performance with Welser-Most/Cleveland. The mezzo wasn't great, but everything else was fabulous.

[barry guerrero]

"Really really long, right?"

Nope. I don't like really long Mahler 3rds; the piece is long enough as it is. The inner movements just end up dieing, and the narrative of the symphony loses its continuity. Well, for me, anyway. If anything, W-M. is a bit on the zippy side. The last movement wasn't much more than 22 or 23 minutes. Cleveland provide incredible brass in the long chorale near the end of the piece.

[Nathaniel]

I've found it. I'm not sure if that's the one you're talking about. It's 1'38". It's with Yvonne Naef and it's from the Proms of 2005. Now here's the thing: My impression at the time (from what I remembered) was that it was slow and long, yet very powerful and very effective. I was very impressed. It seemed unique and weighty. And I immediately remembered it when you brought it up. But at 1'38" it's pretty standard for this symphony, so I'm not sure why I had the "long" impression. I'll listen to it again and if I feel have something halfway decent to say, I'll be happy to share it.

"Really really long, right?"

Nope. I don't like really long Mahler 3rds; the piece is long enough as it is. The inner movements just end up dieing, and the narrative of the symphony loses its continuity. Well, for me, anyway. If anything, W-M. is a bit on the zippy side. The last movement wasn't much more than 22 or 23 minutes. Cleveland provide incredible brass in the long chorale near the end of the piece.

[sperlsco]

Scott,

I've seen Hampson a couple of times with the SFSO, and I honestly don't think that, "aging, over-the-hill" is terribly inaccurate in a relative, musical sense. In other words, I agree with Dave!

Barry

I think that you're reinforcing my point in your two posts.  Although I agree that Hampson has seen his better days, he has been singing Mahler (and DLvdE) for many years.  As such, it is more likely that MTT chose Hampson because of his history of success as opposed to being an aging star vehicle.  Put another way, my point was simply that this is not the case an aging opera star that has suddenly taken an interest in Mahler because he cannot hack the big stage roles anymore (or something along those lines). 

[chalkpie]

I wanna hear this one......

[Leo K]

This recording is still my favorite DLvdE The voices are simply outstanding and I haven't heard any better in my many, many recordings of this work.  And the orchestra is well captured. The recording is mastered with warmth and detail.

[chalkpie]

Nice to hear Todd....my pal likes this version a lot also. My go-to at the moment is the Minnesota/Oue which I really like, but I've been meaning to hear this one. My interest was piqued last night when I heard MTT's M2 for teh first time in a long while - i really really dug it