DVOŘÁK Symphony No 9 'From the New World' (Nelsons)
View record and artist detailsRecord and Artist Details
Composer or Director: Antonín Dvořák, Bedřich Smetana
Genre:
Orchestral
Label: Accentus
Magazine Review Date: 05/2018
Media Format: Digital Versatile Disc
Media Runtime: 100
Mastering:
DDD
Catalogue Number: ACC20419
Tracks:
Composition | Artist Credit |
---|---|
Othello |
Antonín Dvořák, Composer
Andris Nelsons, Conductor Antonín Dvořák, Composer Leipzig Gewandhaus Orchestra |
Rusalka, Movement: O, moon high up in the deep, deep sky (O silver moon) |
Antonín Dvořák, Composer
Andris Nelsons, Conductor Antonín Dvořák, Composer Kristine Opolais, Soprano Leipzig Gewandhaus Orchestra |
(7) Gipsy Melodies, 'Zigeunerlieder', Movement: No. 4, Songs my mother taught me |
Antonín Dvořák, Composer
Andris Nelsons, Conductor Antonín Dvořák, Composer Kristine Opolais, Soprano Leipzig Gewandhaus Orchestra |
Rusalka, Movement: Festival music: Ballet (Polonaise) |
Antonín Dvořák, Composer
Andris Nelsons, Conductor Antonín Dvořák, Composer Kristine Opolais, Soprano Leipzig Gewandhaus Orchestra |
Dalibor, Movement: How confused I feel |
Bedřich Smetana, Composer
Andris Nelsons, Conductor Bedřich Smetana, Composer Kristine Opolais, Soprano Leipzig Gewandhaus Orchestra |
Rusalka, Movement: O, useless it is |
Antonín Dvořák, Composer
Andris Nelsons, Conductor Antonín Dvořák, Composer Kristine Opolais, Soprano Leipzig Gewandhaus Orchestra |
Symphony No. 9, 'From the New World' |
Antonín Dvořák, Composer
Andris Nelsons, Conductor Antonín Dvořák, Composer Leipzig Gewandhaus Orchestra |
Author: Andrew Farach-Colton
This Leipzig concert is a different story. Curiously, Nelsons conducts from the score (he led from memory in Munich), and scowls at least as much as he smiles. Perhaps this wouldn’t matter as much if this new interpretation felt as fresh, but the seemingly spontaneous emotional underlining of detail in his BRSO account sounds exaggerated here, as if he felt it necessary to also italicise and mark in bold. The result is dizzyingly episodic; and while some of the episodes are riveting in their own right – the Mahlerian march in the middle of the slow movement, for instance, with the winds singing in plaintive desolation over pizzicato basses – it just doesn’t hold together.
Whatever misgivings I have about Nelsons’s interpretative choices, the commitment of the Leipzig players is never in doubt. The famous cor anglais solo in the Largo is phrased with tender simplicity, but elsewhere Nelsons allows the woodwinds to play with tremendous freedom and they clearly relish the opportunity. The strings retain their trademark silkiness in piano passages yet dig in ferociously at fortissimo, occasionally taking on an uncharacteristically febrile tone.
The programme opens with a forthright reading of the Othello overture and a series of Czech songs and arias featuring soprano Kristīne Opolais, whose reedy tone is well suited to this repertoire. She’s a fine musician, too – note how she makes dramatic use of the uneven phrase-lengths in the aria from Dalibor.
And if one trusts in the Shakespearean saw that all’s well that ends well, the Slavonic Dance played as an encore concludes the concert on a high, quiet note of bittersweet melancholy.
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