Magdalena Hoffmann: My BRSO Top Five
In celebration of the Bavarian Radio Symphony Orchestra's 75th anniversary, principal harpist Magdalena Hoffmann shares her favourite recordings from the orchestra's vast legacy.
Read more…Wagner: Tannhäuser WWV 70: 'Blick' ich umher in diesem edlen Kreise' – Christian Gerhaher, Daniel Harding
Gerhaher is outstanding. For me, he is the greatest singer of his time. What he achieves with his voice is simply unbelievable. His speech singing and the infinitely touching colours he creates penetrate deep into the soul. In this aria, his genius merges with that of Daniel Harding, while the orchestra radiates a wonderfully warm sensitivity under his passionate and extremely meticulous direction. It is an "economical", transparent aria by Wagner, and interwoven with harp sounds!
Schumann: Das Paradies und die Peri (Paradise and the Peri) op. 50, Part III: No. 21 'Jetzt sank des Abends gold'ner Schein' – Nikolaus Harnoncourt
Schumann's ‘Paradise and the Peri’ is a fantastic and unfortunately all too rarely performed work - perhaps even his best work ever! Harnoncourt, unique in his interpretation, has changed our musical world forever. This recording marked an important milestone for our orchestra, and the collaboration with this outstanding conductor has left us a real treasure. I am particularly impressed by the wonderfully melancholy Siciliano in F sharp minor with the outstanding Christian Gerhaher (‘Jetzt sank des Abends goldner Schein’), where our woodwinds once again demonstrate their sensational phrasing and intonation. The finale, with the breathtaking Dorothea Röschmann, makes this recording one of the best ever produced with our orchestra.
Wagner: Tristan und Isolde WWV 90, Act II: 4. O sink hernieder, Nacht der Liebe – Leonard Bernstein
A timeless jewel among our orchestral recordings is undoubtedly the Tristan recording conducted by Bernstein. It epitomises the pinnacle of an unparalleled relationship between this legendary conductor and our orchestra. Bernstein's deeply emotional immersion in the music, his passionate commitment to the composer - to the point of ecstasy and exhaustion - are sensational. The title roles were taken on by the leading Wagner singers of the time, Hildegard Behrens and Peter Hofmann, whereby it was a glittering role debut for Hofmann. With Yvonne Minton as Brangäne, Bernd Weikl as Kurwenal and Hans Sotin as King Marke, the ensemble belonged to the absolute top class of Wagner singers. This poignant and vivid recording reveals a harmonious fusion of orchestra, chorus, soloists and the fantastic conductor; a combination rarely experienced, especially in music of such outstanding importance.
Sibelius: Symphony No. 1 in E minor op. 39: IV. Finale. Quasi una fantasia – Mariss Jansons
An unjustly forgotten but sensational recording is Sibelius' First Symphony with Jansons. His attention to detail, the wide range of colours and dynamics that he demands of the orchestra and the enormous pent-up energy that he passionately builds up and then twists and pours into the great cry of the symphony's final coda, make this one of the finest recordings of the entire Jansons era.
Mahler: Das Lied von der Erde: 6. Der Abschied. Schwer – Sir Simon Rattle
One recording that is particularly close to my heart is Mahler's ‘Das Lied von der Erde’ with "our" wonderful Simon. This live document, recorded during a concert, marks for me the transition between the era of Mariss and our new permanent conductor (although he had not yet been officially appointed at that time). It's amazing how already in this recording you can feel a deep and strong connection between him and us, even though it was the first time he performed this work with us. Throughout the recording you can clearly feel his deep understanding of this music; his immense honesty and ability to convey emotion without embellishment or unnecessary egocentricity. Despite the change in character and tone colour of the orchestra from movement to movement, he manages to slowly build up a long tension that culminates in the extraordinary and moving finale of ‘Der Abschied’. I must admit that, apart from the marvelous quality of the soloists and conductor, I am still impressed years later by the orchestra's extraordinary ability to understand and play this music. Mahler is probably one of the closest composers to our orchestra since Kubelik's time...