Gustav Mahler (1860-1911)
Das Lied von der Erde (1908-1909)
Marie-Nicole Lemieux (contralto), Andrew Staples (tenor), Les Siècles/François-Xavier Roth
rec. 2024, la Seine Musicale Auditorium Patrick Devedjian, Boulogne-Billancourt & Studio Ferber, France
German texts, English & French translations included
Harmonia Mundi HMM902740 [58]

When François-Xavier Roth began recording Mahler for Harmonia Mundi, he first set down the Fifth symphony in a reading which my colleague Dan Morgan found “utterly absorbing” (review). He followed that up with a recording of the Third which I rated as “as one of the freshest, most stimulating that I’ve heard” (review). Dan was no less admiring, describing the recording as a “game-changing Mahler 3” (review). Both of those performances involved the Gürzenich-Orchester Köln, playing on modern instruments. Actually, I think that both Dan and I came to realise that the real game-changer occurred when Roth began recording Mahler with Les Siècles. Both of us were excited by his recording of the First Symphony, which was presented in its five-movement form as the tone poem ‘Titan’ (review ~ review) and the subsequent account of the Fourth symphony (review ~ review). At the time, I recall that in email correspondence between us, we mused that, arguably, the work which might be especially suited to the particular characteristics of Les Siècles could well be Das Lied von der Erde. So, I was thrilled when I learned that Roth had recorded that great symphonic collection of songs.

I’ve reviewed several recordings of Das Lied over the years and almost invariably I’ve focussed on the performances of the two solo singers and the conductor’s interpretation. On this occasion, though, as I sit down to write I suspect, from a review of my notes, that I’ll be saying as much about the orchestral contribution because that seems to me to be a key element in this recorded performance. Before I discuss the performance, I think it’s worth saying a bit about the orchestral forces that Roth has at his disposal. The recording was made under studio conditions and a session photo in the booklet shows that Roth had his violins divided left and right with the cellos to the left of the first violins and the violas between the cellos and the second violins. The double basses were ranged in a line across the back of the orchestra. The string choir numbered 14/12/10/8/7. As is the usual practice with Les Siècles recordings, details are given in the booklet of the make and date of almost all the woodwind and brass instruments – though not the strings or percussion – and from this list we can see that with just a handful of exceptions all the instruments were in existence by the time Das Lied was first performed in 1911. So, here we have as near as we can possibly get to an orchestral sound which Mahler or Bruno Walter, the conductor of the premiere would have recognised.    

Right at the start of ‘Das Trinklied vom Jammer der Erde’, I was struck by the vigour of Roth’s conducting and by the sharp projection of the orchestral sound – the horns make a splendid sound. Andrew Staples is set a very stiff test in this first song; the tessitura is taxing indeed but he copes with it very well. There’s something of an edge to his voice which I don’t recall hearing before; I suspect this may be connected with the enunciation of the German text. I mention this not as a criticism; actually, I think the edge, if one can call it that, is quite appropriate. In the orchestral passage leading up to the penultimate stanza of the poem, the orchestral sound is particularly piquant. At ‘Das Firmament blaut ewig’, I like the way that Staples’ delivery of the first two lines of the stanza is suitably withdrawn. Then he and the orchestra present vividly the nightmarish vision of the ape; hereabouts, the colourings from the orchestra are very tart. At the very end of the song, I love the dry thwack of the drum on the last chord; that’s a sound you don’t get with modern instruments.

The orchestral opening to ‘Der Einsame im Herbst’ is wonderfully fragile; this means that the little accented details from the woodwind and horns register very acutely. Marie-Nicole Lemieux sings expressively. As he does throughout the work, I think Roth paces the music very successfully and idiomatically. In this song I wondered if the tempo should have been eased a fraction more at ‘Mein Herz ist müde’ but this was an isolated instance; overall, I thought the pacing of the music was very well judged. The intense melancholy of this song is well conveyed by Ms Lemieux. As I listened to the orchestra, I had the impression of a deserted autumnal landscape and I marvelled at the way the strings almost whisper their music.

The performance of ‘Von der Jugend’ is sharply pointed whenever the music demands it. Staples seems to narrow his tone and I think that works well. The first few minutes of ‘Von der Schönheit’ have a porcelain delicacy. Then the orchestral interlude between the first two stanzas stands in sharp relief, as it should, paving the way seamlessly for the much more animated music for the second stanza itself. This passage, taken very swiftly, is very vivid; Ms Lemieux articulates the text very well despite the urgent pace – in this performance, the horse audibly takes flight. Mahler returns to music of fragile delicacy for the third stanza of poetry; where Lemieux had been biting in her delivery of the preceding lines, now she is inward and melancholy. Andrew Staples characterises ‘Der Trunkene im Frühling’ very well and he’s supported by orchestral playing of pinpoint precision. I like, however, the dreamy quality that both singer and orchestra bring to the last two lines of the third stanza. Staples’ final contribution to this performance is very good indeed. 

And so to ‘Der Abschied’. Here, the orchestral clarity is especially evident. One detail caught my ear. In the opening pages and again in the orchestral interlude partway through, Mahler makes telling use of a softly struck tam-tam; the sound is doom-laden. I can’t recall hearing a performance in which I’ve been so conscious of this instrument’s contribution. I hasten to say that’s not because the tam-tam is too loud or prominent; that’s not the case. However, the transparency of the orchestral textures, perhaps the nature of the instrument itself, and certainly the skill of the player, Sylvain Bertrand, who judges every stroke perfectly, mean that the tam-tam registers eerily. Upon such attention to detail is a great performance built. Bertrand’s is not the only outstanding contribution from the orchestra, of course. The principal flute, Marion Ralincourt is superb, evoking memories of the last fluttering bird that we hear (voiced by flute and piccolo) after the grosse Appell in the ‘Resurrection’ symphony. I also admired greatly the work of the principal oboist, Hélène Mourot. Truth to tell, though, it’s almost invidious to single out individuals; the entire orchestra plays marvellously and it’s thanks to their collective approach, clearly listening to each other acutely, that we hear so much detail here and in the earlier songs. The great orchestral interlude between the Meng Haoran and Wang Wei poems (from just before 13:00) is full of inner detail. Arguably, the intense climax from 17:36 doesn’t have quite the same power as one experiences from modern instruments but the passage is still imposing.

Marie-Nicole Lemieux sings very well and with a fine feeling for both words and music. In the last analysis, I don’t feel she matches the eloquence of such distinguished predecessors as Christa Ludwig, Sarah Connolly or the incomparable Janet Baker, but her voice and her way with the music are well suited, I think, to the kind of performance that Roth and Les Siècles wish to give. She offers a detailed and idiomatic approach. ‘Die liebe Erde allüberall’ may not be quite the rich outpouring that I’ve heard from some other singers, but I was still moved by the passage. Just as moving is the way that in the closing pages Ms  Lemieux tapers her tone gradually so that the final ‘Ewig’ is almost whispered. Marie-Nicole Lemieux is billed as a contralto but in the three songs allocated to her, it seems to me that her voice is closer to the mezzo range. I don’t mean that comment in any way critically and I hasten to say that she is secure on Mahler’s lowest notes.

This is a notable addition to the discography of Das Lied von der Erde. Both soloists do well; I admired their performances. François-Xavier Roth conducts the work with evident understanding and perception; this is a worthy successor to his previous Mahler recordings. But the great USP of this release is the playing of Les Siècles. The use of period instruments – and, of course, the skill with which they are played – brings a fascinating transparency to Mahler’s score. It’s true that the orchestra doesn’t have quite the tonal weight of the modern symphony orchestra but I’m inclined to think that’s no bad thing. The one slight disappointment I have is that there isn’t quite the tonal weight from the double basses and cellos that I would have liked but that point is more than compensated by the many gains elsewhere.

The success of this performance is enhanced by the fine recorded sound. There‘s plenty of detail and also an impressive ‘big picture’. The soloists are very successfully balanced with the orchestra

Mahler devotees should ensure they hear this recording; it’s often revelatory.

John Quinn

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