Review
Fanfare Magazine November/December 2007
MAHLER Symphony No. 9• Andrey Boreyko, cond; Winnipeg SO • WINNIPEG SO (DVD: 115:00) Live: Winnipeg 5/12-13/2006
This is the kind of production that used to be termed a"vanity project" until orchestras began to routinely release their own recordings. Produced by Zdzislaw Prochownik, a member of the double bass section of the orchestra, it was a farewell gifts to out-going Music Director Boreyko, financed by the orchestra members- in other words, a true labor of love. It is a limited edition of 1,000, available .
Not surprisingly, given its origins, the video production is very low-budget just three camera angles are employed, one from a balcony perspective on the left, mostly showing the whole orchestra, a second from the right-hand side of the theater, capable of close-ups of half of the orchestra to the conductor's left, and one facing the conductor. This doesn't allow for a great variety of images there is little effort (or capability?) to highlight solo instruments, for instance, but the clarity of the picture is notable. The sound, on the other hand, is very good- midhall perspective with good imaging, definition, and balance. There are occasional drop-outs or other anomalies, but otherwise the sound production is an impressive one, especially for a live concert.
The performance has all of the advantages and disadvantages of a live concert, as is often true of "lower-tier" orchestras. However, the mistakes, miscues, and ensemble glitches (of which there are very few) are more than compensated for by the commitment of the musicians and of their obvious respect for their conductor. The result is an often-impressive interpretation of Mahler's magnificent symphony.
Boreyko's first movement charts a course midway between emotive Mahler and cool, objective Mahler; his main tempo inclines toward moderation, expansive without being slow, and thematic development is clear and not exaggerated. The second movement continues in the same vein, though the humor is evident, again without obvious exaggeration. The initial waltz is a bit stiff, but that simply makes its incipient pomposity more overt. The Rondo-Burleske is characterized by clarity and discipline; the sometimes chaotic interplay of themes is downplayed, and any aggressive tendencies tamed; what remains is a very stylish, even urbane interpretation.
The finale matches the opening movement for its sober but heartfelt character: those seeking the more overt drama of Bernstein won't find it here- Boreyko's vision is closer to that of Abbado in this symphony. The tempo is again expansive without losing coherence or momentum. The last few minutes are characterized by a deep sense of calm, communicated through splendid string ensemble.
One of the bonus segments documents rehearsals for the concerts. The sound here is very close and detailed, and the conductor's comments give insight into his interpretation; in sometimes halting English, Boreyko strives for more -more rusticity here, more volume there--but always with a clear sense of confidence in his own vision. The other bonus footage features comments from orchestra members concerning the music and the circumstances surrounding the concerts-Boreyko had come to the end of a tour-year stint with the orchestra, and it was obviously a fruitful partnership.
I'm not sure who this DVD is intended for. Mahler enthusiasts who desire multiple performances of the symphonies on video would do well to consider this performance: casual listeners will probably want a more elaborate production -Bernstein on DG or Abbado on EuroArts. Those listeners who do decide to take a chance will not be disappointed, and they may then wish to explore more performances from this conductor (a new Shostakovich Fourth has been issued by Hanssler as I write) or from this ensemble, several of whose discs have been produced by the Canadian Broadcasting Corporation.
Christopher Abbot
Fanfare November/December 2007
Fanfare Magazine November/December 2007
MAHLER Symphony No. 9• Andrey Boreyko, cond; Winnipeg SO • WINNIPEG SO (DVD: 115:00) Live: Winnipeg 5/12-13/2006
This is the kind of production that used to be termed a"vanity project" until orchestras began to routinely release their own recordings. Produced by Zdzislaw Prochownik, a member of the double bass section of the orchestra, it was a farewell gifts to out-going Music Director Boreyko, financed by the orchestra members- in other words, a true labor of love. It is a limited edition of 1,000, available .
Not surprisingly, given its origins, the video production is very low-budget just three camera angles are employed, one from a balcony perspective on the left, mostly showing the whole orchestra, a second from the right-hand side of the theater, capable of close-ups of half of the orchestra to the conductor's left, and one facing the conductor. This doesn't allow for a great variety of images there is little effort (or capability?) to highlight solo instruments, for instance, but the clarity of the picture is notable. The sound, on the other hand, is very good- midhall perspective with good imaging, definition, and balance. There are occasional drop-outs or other anomalies, but otherwise the sound production is an impressive one, especially for a live concert.
The performance has all of the advantages and disadvantages of a live concert, as is often true of "lower-tier" orchestras. However, the mistakes, miscues, and ensemble glitches (of which there are very few) are more than compensated for by the commitment of the musicians and of their obvious respect for their conductor. The result is an often-impressive interpretation of Mahler's magnificent symphony.
Boreyko's first movement charts a course midway between emotive Mahler and cool, objective Mahler; his main tempo inclines toward moderation, expansive without being slow, and thematic development is clear and not exaggerated. The second movement continues in the same vein, though the humor is evident, again without obvious exaggeration. The initial waltz is a bit stiff, but that simply makes its incipient pomposity more overt. The Rondo-Burleske is characterized by clarity and discipline; the sometimes chaotic interplay of themes is downplayed, and any aggressive tendencies tamed; what remains is a very stylish, even urbane interpretation.
The finale matches the opening movement for its sober but heartfelt character: those seeking the more overt drama of Bernstein won't find it here- Boreyko's vision is closer to that of Abbado in this symphony. The tempo is again expansive without losing coherence or momentum. The last few minutes are characterized by a deep sense of calm, communicated through splendid string ensemble.
One of the bonus segments documents rehearsals for the concerts. The sound here is very close and detailed, and the conductor's comments give insight into his interpretation; in sometimes halting English, Boreyko strives for more -more rusticity here, more volume there--but always with a clear sense of confidence in his own vision. The other bonus footage features comments from orchestra members concerning the music and the circumstances surrounding the concerts-Boreyko had come to the end of a tour-year stint with the orchestra, and it was obviously a fruitful partnership.
I'm not sure who this DVD is intended for. Mahler enthusiasts who desire multiple performances of the symphonies on video would do well to consider this performance: casual listeners will probably want a more elaborate production -Bernstein on DG or Abbado on EuroArts. Those listeners who do decide to take a chance will not be disappointed, and they may then wish to explore more performances from this conductor (a new Shostakovich Fourth has been issued by Hanssler as I write) or from this ensemble, several of whose discs have been produced by the Canadian Broadcasting Corporation.
Christopher Abbot
Fanfare November/December 2007
