PSmith08
1000+ Head-Fier
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- Jan 24, 2005
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Quote:
It is weird in a big way. It is fairly funereal, so I suppose Barenboim interpreted differently than just about everyone else. I can see why he might make that decision, though, were it I at the conductor's desk, I wouldn't have. I think he tried to make it a "triumph" that was really a tragedy. To put it another way, I think he tried to insert irony where there was none. I can't say it's interpretatively invalid, but it certainly bizarre. Barenboim should stick to Wagner, and probably would do more, but he's being thrown over in favor of Thielemann by the Wagners at Bayreuth. Also, I don't know what his programs are at the Staatsoper.
Quote:
Herbert von Karajan (1975)
Originally Posted by Mark from HFR Whatever is there it sure doesn't sound like Mahler in Barenboim's hands. I like his first movement, very stern and monolithic, but from there it just devolves into a grim, humorless, rigid affair. Has anyone ever made the finale sound less joyful? I played it once to a friend who was only just beginning to get into Mahler and he said, "Am I missing something or is this performance just not right at all?" I congratulated him on his perspicacity. |
It is weird in a big way. It is fairly funereal, so I suppose Barenboim interpreted differently than just about everyone else. I can see why he might make that decision, though, were it I at the conductor's desk, I wouldn't have. I think he tried to make it a "triumph" that was really a tragedy. To put it another way, I think he tried to insert irony where there was none. I can't say it's interpretatively invalid, but it certainly bizarre. Barenboim should stick to Wagner, and probably would do more, but he's being thrown over in favor of Thielemann by the Wagners at Bayreuth. Also, I don't know what his programs are at the Staatsoper.
Quote:
Has anyone ever made the finale sound less joyful? |
Herbert von Karajan (1975)