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03/20/2023
Gustav Mahler: Symphony No. 2 “Resurrection”
Christiane Karg (soprano), Elisabeth Kulman (alto), Prague Philharmonic Choir, Lukás Vasilek (chorus master), Czech Philharmonic, Semyon Bychkov (conductor)
Recorded at Dvorák Hall of the Rudolfinum, Prague, Czech Republic (December 2018) – 86’ 52
Pentatone PTC5186992 (Distributed by Naxos of America) – Booklet in German and English
 
I went in with skepticism. After all, there are several recordings of Mahler’s Second that are exemplary. Mehta’s with the Vienna Philharmonic is near the top of my list, both of Bernstein’s with the NY Phil as well. More recently, Iván Fischer’s effort with the Budapest Festival Orchestra is a notable success. Could Semyon Bychkov’s newest recording in the Czech Philharmonic’s Mahler catalogue be a surprising addition to a top‑10 Mahler Second list?
The celebrated conductor may not be the most obvious name to come to mind when thinking of a current Mahlerian, but he makes a convincing case here. At 86 minutes, this recording, upon first listen, sounds refreshingly straightforward for such a time length. Tempos are moderate, transitions do not dawdle. In and of itself, this is a redeeming quality to many. Mahler builds in his tempo transitions and eccentricities (think Bernstein’s second NY Phil recording) can be excessive and unnecessary (although nonetheless thrilling in Lenny’s case).
But Bychkov’s moderation comes across as a virtue. The first movement march has an impressive consistency. The Totenfeier is utilitarian here, purposeful. But tempo changes are thrillingly done, growing organically out of Bychkov’s steady tempo. The impact is nonetheless powerful. Bychkov’s approach would stay consistent throughout. The second movement Ländler is sweetly played, sentimental without lingering. The third movement, Scherzo, begins easily enough, creepy and mysterious. Bychkov manages to transition tempos again just enough to contrast with the main theme of St. Anthony’s sermon to the fishes, building to a menacing climax.
Elizabeth Kulman’s Urlicht is beautifully sung, paced at a steady tempo and does not get weighed down. Bychkov is a sensitive accompanist here and the movement succeeds by letting the beauty of Mahler’s line soar in its hymn‑like setting. The final movement is remarkably well‑judged with Bychkov letting Mahler’s remarkable music speak for itself. Throughout this recording, the Czech Philharmonic acquit themselves impressively. Strings are exquisitely blended, with the ensemble between sections very taught. In addition to Kulman’s contribution, Christiane Karg is an angelic sounding soprano soloist and the Prague Philharmonic Choir are very successful, singing robustly with impressive dynamic and vocal dexterity. The excellent stereo recording by Pentatone captures the orchestra with brilliant fidelity, making for a vivid, immersive listening experience.
In sum, this is an excellent recording. Far from having any weaknesses it, in fact, succeeds consistently. I’ve found that it continues to wear well on repeated listenings with Bychkov’s straightforward approach sounding more well-judged and executed the more familiar I am with it. It would be silly (and unfair) to expect this recording to displace the top contenders in the catalogue, but it is a very welcome addition, one that makes me eager for more Mahler from Bychkov. After all, one can apparently never have too many Mahler recordings.
Matthew Richard Martinez
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