BEETHOVEN Symphony No. 3 / Dudamel


Symphonie No. 3 »Eroica«

Ouvertüren · Overtures:
Die Geschöpfe des Prometheus
Simón Bolívar Symphony Orchestra
of Venezuela
Gustavo Dudamel
Int. Release 15 Jun. 2012
1 CD / Download
0289 479 0250 8

Track List

Ludwig van Beethoven (1770 - 1827)
Symphony No. 3 in E-Flat Major, Op. 55 "Eroica"

The Creatures of Prometheus, Op. 43


Music To Goethe's Tragedy "Egmont", Op. 84


Simón Bolívar Symphony Orchestra of Venezuela, Gustavo Dudamel

Total Playing Time 1:07:14

. . . [the] blend of gusto tempered with sensitivity makes the SBO perfectly equipped for Beethoven's "Eroica" Symphony, a glorious affirmation of life . . . The opening Allegro con brio movement alone is magnificent, its audacious shifts between quietly scurrying woodwind and stormy, dissonant climaxes eagerly negotiated by the SBO.

Energy and excitement run through every bar of these performances . . . [one is] thrilled by the sheer delight in the playing he inspires.

The biggest name in conducting today takes a forceful and disciplined approach to Beethoven . . . these accounts are full of character and taut in architectural profile.

Dudamel is today's wunderkind, and he is a real talent . . . there is no doubting his ability to galvanize musicians, youth, and whole communities with an infectious and irresistible love of music that cannot be denied . . . The two overtures are also quite invigorating, with "Egmont" providing lots of chills and excitement, tailor made for Dudamel's personality.

The Simón Bolívar Symphony Orchestra of Venezuela is conducted on this excellent new recording of "Eroica" by the classical music world's equivalent of a superstar, Gustavo Dudamel . . . What it has retained are the energy and passion for which its performances have been acclaimed, and, with maturity, it has gained greater technical control and a more profound musicianship . . . [the richly resounding recording] is as full-blooded, heroic, and soul-stirring as the music demands . . . [a] highly recommended CD.

The opening allegro con brio of the "Eroica" is a moderately brisk one, and the phrasing is crisply executed by this always-impressive orchestra. The clearly delineated instrumental articulation is everything that we have come to expect from these musicians as well . . . [in the Scherzo] the horns of the trio fairly chortle their joyous calls. The playful set of variations in the finale is carried off with aplomb . . . The overture to "The Creatures of Prometheus" is, of course, most appropriate as a companion to the symphony, and it receives a spirited performance . . . The sound production is impressive, with full-bodied stereo, very good bass, and decent instrumental definition, all within an expansive sound stage. Altogether, this is a highly entertaining and excellently performed version of the "Eroica," and the two overtures are, at the very least, interesting for what they add to Dudamel's Beethoven discography. Recommended.

This is the best conducting I have heard from Gustavo Dudamel, and the best playing from the Simón Bolívar Symphony Orchestra . . . [Symphony no. 3]: The playing on this disc is tremendous, with the orchestra providing a glowing central European sound. The winds are impressive and the horns rise to the Symphony's notorious challenges, particularly in the Trio of the third movement . . . there is much beauty to be found here and some devastating climaxes. The two overtures are also given high-voltage accounts and that is an impressive achievement . . .

Plastisch geformt, farbig und lebendig kommt dieser Beethoven daher. Der Wille zum Ausdruck ist in jedem Takt hörbar. Das gilt für die "Eroica" wie für die Egmont-Ouvertüre, sowohl in den düsteren Farben als auch in den heldischen Fanfaren des Schlusses: eine gleichsam sehnig gespannte Klanglichkeit, ohne je überdreht oder manieriert zu erscheinen.

"Les Créatures de Prométhée" sont d'un impeccable classicisme: tempo giusto, rebond et articulation soignés, discours énergique et précis. Le jeun patron du Simon Bolivar met naturellement une densité émotionnelle différente dans "Egmont". Et avec quelle aisance il trouve le chemin qui même du 'Sostenuto' à l''Allgro'! Agogique parfaitement dosée, carrure rythmique impeccable, clarté polyphonique. Une lecture sérieuse dans le sens le plus noble du terme . . . supérieurement maîtrisée . . . combien de chefs de l'âge de Dudamel pourraient donner naissance à une "Eroica" aussi justement pensée, comprise et réalisée?