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Recital

14 March 2005

Vienna Musikverein, Großer Saal

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Also at the following venues:
15th March: Barbican Hall London

 16th March: Frankfurt am Main - Alte Oper
18th March: Madrid - Auditorio Nacional del Música
20th March: Salzburg Arena

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Conductor, Franz Welser-Möst

Simon Keenlyside

Gustav Mahler Jugendorchester

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Mahler: Eight Lieder

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·        Ich atmet’ einen linden Duft (I breathed a sweet scent)

·        Des Antonius van Padua Fischpredigt (Saint Anthony of Padua’s sermon to the fishes)

·        Ich ging mit Lust (I walked with joy)

·        Blicke mir nicht in die Lieder (Do not spy on my songs)

·        Fruhlingsmorgen (Spring morning)

·        Liebst du um Schonheit (If you love for beauty)

·        Um Mitternacht (At midnight)

·        Ich bin der Welt abhanden gekommen (I am lost to the world)

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..Strauss: An Alpine Symphony

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What the critics say

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Die Presse, 16th March 2005.

http://www.diepresse.com/Artikel.aspx?channel=k&ressort=ke&id=470464

Translation by Ursula Turecek

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A Concert of the Easter Festival with Franz Welser-Möst, first of all in Vienna

“...Quiet songs by Gustav Mahler were performed as a counterpart before the interval, partly orchestrated with luminous power by Luciano Berio and interpreted a little too artificially and overburdened with falsetto by Simon Keenlyside. Here too mainly the instrumental soli were brilliant.”

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Peter Vujica, Der Standard, 16th March 2005

http://derstandard.at/?url=/?id=1983696

Translation by Ursula Turecek

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“...In exchange we should have felt without doubt more immediate emotion in the first part of the concert during the rendition of eight orchestral songs by Gustav Mahler, chosen from different cycles.”

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“…Simon Keenlyside introduced them as soloist with huge intensity. But mainly in Gustav Mahler’s later songs like the Rückert-settings Um Mitternacht or Ich bin der Welt abhanden gekommen, for example, the voice and accompanying instruments are interwoven so closely that any emotional vacuum arising from the orchestra cannot be compensated by baritonal intimacy alone. Which admittedly did not affect the audience’s sympathies. The exultation that began after Mahler already knew almost no bounds after Richard Strauss.”

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