ベートーヴェン:交響曲第5番 作品67「運命」

ベートーヴェンイヤーにふさわしい、最高最新の「運命」はこれだ!

今、世界で最も注目を集める指揮者・テオドール・クルレンツィスと、その手兵ムジカエテルナがベートーヴェンイヤーの2020年に放つ問題作にして最高の話題作。クルレンツィスとムジカエテルナのベートーヴェン交響曲チクルスの第一弾は「運命」交響曲!
2019年の来日公演でのチャイコフスキー・プログラムで日本の聴衆を興奮のるつぼにたたきこんだこのコンビによるベートーヴェン、しかも「運命」と来ては期待せざるを得ないでしょう。もちろん、その期待をはるかに上回る出来になっていることは間違いありません。
ソニー・ミュージック

Conductor Theodor Currentzis and his MusicAeterna Orchestra surged out of Siberia in the early 2010s with high-intensity opera recordings, to which they later added orchestral music. The world might not seem to be waiting for another recording of Beethovens Symphony No. 5 in C minor, Op. 67, but with Currentzis, a novel and good time is guaranteed. He takes the Fifth at hell-for-leather tempos, and three things must be noted. First, his orchestra is by now as well-drilled as any, and it can follow him through some very difficult turns. Second, his reading is his own, fully thought out, and departs from the score in small ways when necessary. Broadly speaking, he sets his high-powered themes against quiet passages that, despite their speed, allow for a bit of lyricism. Lastly, brilliant as they may be, some passages here, especially in the all-important first movement, tend toward the mechanical. Listeners mileage may vary, but they will be tapping their feet throughout. Its true that in the Scherzo, Currentzis devises an altogether original interpretation in which the main theme, when it returns, is taken down in dynamics and becomes quietly mysterious. Currentzis fans are going to eat this up, even if those new to his work might do better to check out one of his Mozart opera recordings.