As usual, the orchestra shows safer playing the authors of S. XX when he has to face a Brahms Symphony or Mendelssohn Concerto. Clear distinction of voices, orderly implementation (almost always) the intricate transitions and powerful climax resolution - Except those where the rope, modest intensity as always, is more important.
García is a young director being fogueando in the operatic repertoire in Vienna Staatsoper. Mahler offered a well-planned, but agogic rigid about transitions. Markedly lyrical execution, with a nice sense of the song which speaks of the director's operatic experience. Although details were heard screaming - like the groans of the timbers start the first crisis at the start of Andante - was missing the essential share of anguish of this music. In the Rondo was an attempt to give more bite to the speech, but the rope did not respond with enough force and the incisors were uncompensated metals. The culmination of this approach, a final placidísimo Adagio, beautiful but not tip, where the string left something to be desired in terms of expressiveness, and density. The result was an intermediate rather lyrical, too clear textures and light, instead of deep reflection on life and anything that Mahler conceived. The gradual disintegration of the music was greeted with a prolonged silence, perhaps the only possible response to this work. Open bar
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