…the orchestral sound is light and transparent. Young’s first movement is well balanced between drama and lyricism and always pushes forward in a good way, even when the music relaxes. She gets sweet playing out of her strings and lovely phrasing from her woodwinds. The brass is also very good—bright and crisp but not harsh or too aggressive. Her ear for orchestral color serves her well here, and moments such as the English horn calling across the distance and the dire menace of the funereal procession with low strings, gong, and brass are striking. I love the gleaming trumpets dreaming away in thirds, the industrious plodding of the bass strings and the bassoons, and the tail-chasing mock elegance of the rhetorical violas.

The finale is well done…this is a lovely reading and…it is moving and uplifting. The soprano is sweet-voiced…Peckova is the same, and the chorus is a pleasure…this is a joyful recording and worth hearing. What I’d love to hear is how Young plays this piece ten years from now. © 2012 American Record Guide Read complete review on American Record Guide online

This is definitely a cut to the chase interpretation of this epic symphony. Not to say that this sounds like a “let’s get this over with” performance. Far from it. It’s just streamlined, and better proportioned. Plus it fits on only one CD instead of the usual two. Bonus!

For example, at the 5:20 mark of the first movement where Gustav Mahler gives us a first glimpse at the heaven-to-be of the final movement, following a nervously taut Allegro introduction, Simone Young ushers in that vision as beautifully as I’ve heard before. It is characterized by a subtle fragility, as if the dream could easily be shattered. After a more vehement reappearance of the anger from the symphony’s first page, the 11:15 point marks the beginning of the funeral march proper, and this is where Young keeps everyone in line and everything moving. And that urgency seems to help emphasize those great shattering moments along the way. At 15:40 heaven returns, more clearly defined, more attainable this time around. The movement ends with the casket being lowered into the cold ground with a brutal effect of finality.

The second Andante moderato movement is beautifully shaped, with finely balanced levels of lyricism and drama. The members of the Hamburg Philharmonic Orchestra easily demonstrate that even large orchestras can move their weight around as if in ballet slippers. It is played very much in the style of an Austrian pastoral ländler, a perfect counterweight to the first movement.

The central scherzo movement forms the pivotal point of the symphony. Like a disjointed waltz it brings to the dance floor all the conflicting elements of the symphony, from the macabre major/minor modulations of the first movement to sudden outbursts of heavenly brass choirs, and all the comical aspects of simple rural life thrown in for good measure. It all leads to a fierce display of anger at the 8:28 mark quickly appeased by yet another glimpse at heaven. All these conflicting elements are well proportioned by Young and very well characterized by each individual instrumentalist in the orchestra.

This is a prime example of a monumental symphonic work that requires an arduous effort on the part of everyone involved in its creation. And even though there are moments here and there in this recording that are not quite up to my overly demanding standards, I would still grade everyone 110% for that effort. © 2012 Classical Music Sentinel Read complete review

the heroine of the hour is Simone Young who, while no stranger to these symphonies, here confirms her Mahlerian credentials in a most emphatic fashion. …this Resurrection belongs in the select company of recent issues from Zinman, Nott and Levine, all of whom bring something memorable to this oft-played score.

Hugely impressive, a must for all Mahlerians. © 2011 MusicWeb International Read complete review