Despite a history of distinguished associations with conductors of the calibre of Stokowski, Reiner and Gielen, the Cincinnati Symphony has never been considered one of the top-rank American orchestras. On the evidence of this recording, playing standards are consistently high after Jesus Lopez-Cobos’s decade at the helm. Even if the sonority is not quite gargantuan enough for this particular piece, the clean and natural effect is sympathetic. The forward, somewhat raspy brass and more distant woodwind balance may have something to do with the surround-sound encoding. Generally speaking, the sound combines spaciousness and clarity.
Lopez-Cobos favours a strait-laced, slow-burn approach to Mahler that places limits on expressive variety even in the multi-faceted first movement. He rarely encourages string glissandos or portamentos and, in truth, the evident concern for technical and textual accuracy doesn’t do much for Mahler’s extremes of emotion. A certain squareness, lack of rhythmic flexibility and a reluctance to play really softly rob the finale of the more emotive qualities that rival conductors find in abundance. Compare and contrast Barbirolli whose love of this music threatens to swamp all other considerations including anything so mundane as decent ensemble! Michelle DeYoung, whose Mahlerian credentials were established recently on Tilson Thomas’s Das klagende Lied (RCA, 9/97), acquits herself well, but again the lack of flexibility on the rostrum limits her effectiveness and the Nietzsche setting drags. The ‘flower’ minuet feels sluggish too despite a brilliant, hi-tech Trio. This is a pity when the ‘birds and beasts’ Scherzo has the post-horn solos perfectly placed in a distant summery haze.
In accordance with what seems to be a regrettable new trend, no texts are provided in the booklet which does however find room to list all the members of the orchestra. Even at mid price, Lopez-Cobos is up against bigger names and more strongly characterized music-making. On the other hand, no collector for whom sonic factors outweigh interpretative qualities should be dissuaded from hearing this set. It may well appeal to those for whom the latest technological advances are de rigueur.'