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…Fischer… rarely pushes too hard. The orchestral sound is lean but not undernourished, allowing for even balance between contesting lines - outstanding in the funereal coda of the first movement... — BBC Music Magazine, October 2006, 4 out of 5 stars
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Gramophone Magazine
Awards Issue 2006
Disc of the Month
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Contents
Birgit Remmert, Hungarian Radio Choir, Lisa Milne Budapest Festival Orchestra Iván Fischer
October 2006
…Fischer… rarely pushes too hard. The orchestral sound is lean but not undernourished, allowing for even balance between contesting lines - outstanding in the funereal coda of the first movement - and a clearer than usual interplay between gleaming upper brass and woodwind.
2010
Stylistically, Fischer is right on the money. He has a keen nose for Mahler's particular brand of the ebb and flow of the music, the way it speaks, or rather sings; the bucolic and melodramatic elements of the score are vividly conflicted; and best of all Fischer really breathes in the atmosphere of Mahler's precipitous flight to eternity.
Awards 2006
The sound is distinctive, the music-making personal. … the crowning glory is, as it should be, the finale… The "special effects" of Mahler's elaborate Judgement Day fresco have rarely been so magically realised. The offstage horns are so breathtakingly remote as to suggest the world of the living left far behind. Moments of quite extraordinary stasis precede the sounding of the Dies irae and the hushed entry of the chorus. And come the peroration (resplendent with fabulous horns), Fischer knows that it is with that final crescendo of the chorus and only then that the heavens really open. Impressive.
