"This is Anne Sofie von Otter at her most hallowed, and Quasthoff is as quietly witty in the fables as he is harrowing in the military doom-songs. Unsurpassable…" ~BBC Music Mag
"…unquestionably, no performer has ever had a more comprehensive knowledge of the manuscript sources (…) Instrumentally speaking, the results are fabulous (…) a deeply considered issue." ~Grammophone
There may be more famous recordings of this work - the George Szell recording comes to mind - but none have the emotional heft and power of this essential Bernstein performance. To hear Ludwig sing “Wo Die Schonen Trompeten Blasen” is nothing less than a shattering experience. Almost uniquely among available versions on CD, when there are contrasting characters, Bernstein treats the songs as dialogues, with both Berry and Ludwig - husband and wife at the time of the recording - taking part, further adding to the richness of this performance. (from Amazon.com)
This is the best Boulez recording in quite a while. He offers the canonic 12 Wunderhorn songs, meaning no Urlicht and no Das himmlische Leben in the original orchestration before it became the finale of the Fourth Symphony. You won't miss them. None of the songs are done as duets, and you won't be bothered by that either. The singing is exceptional: Magdalena Kozená combines a sweet timbre with plenty of personality and attention to the words; Christian Gerhaher's light, somewhat grainy baritone may not be to all tastes, but his unfailing musicality and his gusto (singing but never shouting) in the big "military" songs carries the day.
Stephan Genz's light, warm and cultured baritone is especially fine in reflecting the ghost voices and moonlight serenades of Mahler's folk-inspired anthology. Yet more attack is surely needed for the prisoner in the tower and the what should be the increasingly desperate pleas of the starving child is 'Das irdische Leben'.