Review: THE GNSO TRIUMPHS IN MAHLER'S RESURRECTION SYMPHONY at Aquinas Hall, Newburgh

On the evening of Saturday, April 26, 2025, the Greater Newburgh Symphony Orchestra (GNSO) presented a breathtaking rendition of Gustav Mahler’s Symphony No. 2 in C minor, Resurrection, at Aquinas Hall at Mount Saint Mary College in Newburgh, NY. Under the masterful baton of Russell Ger, the orchestra delivered a performance that not only showcased their technical prowess but also their emotional depth, transforming the intimate venue into a space of profound spiritual reflection.

From the opening bars of the symphony’s first movement, Allegro maestoso, it was immediately clear that this performance would be special. The GNSO’s strings delivered the opening theme with clarity and precision, gradually building in intensity as Mahler’s sweeping, dramatic motifs unfolded. Ger’s conducting style is both dynamic and expressive, and throughout the evening, he demonstrated a keen ability to manage the vast contrasts that Mahler is known for, guiding the orchestra through moments of thunderous power and haunting stillness with equal command.

The placement of the strings in front of the proscenium had a marked affected the blend of the sound, making the woodwinds extremely “present” in the mix.  It took a minute to get used to but ultimately brought forth some textures that typically go unnoticed in the overall sonic wave that is the 2nd.

In the Andante con moto second movement, the orchestra exhibited a delicate, almost ethereal quality. Here, Ger drew some beautifully introspective playing from his musicians. The strings provided a shimmering backdrop, while the woodwinds—especially the oboe and clarinet—sounded with a poignancy that enhanced the movement’s reflective tone. Principal violist Sofia Lewis was especially notable in this movement, with her sensitive and lyrical solo passages adding a layer of vulnerability that complemented the somber yet hopeful mood of the score.

The transition into the third movement, Scherzo: Molto vivace e leggero, was a breath of fresh air. The GNSO’s string section once again proved its versatility, playing with both agility and lightness as they navigated Mahler’s intricate rhythms and changing tempos. Ger's precise, energetic conducting allowed for a playful, almost whimsical quality to emerge from the orchestral texture, making this movement a delightful contrast to the darker, more serious moments of the symphony.

However, it was in the symphony’s final movement, Im Tempo des Scherzos, where the full emotional and musical depth of the performance came to fruition. After the brief, unsettling silence that ends the third movement, the chorus, composed of the Mount Saint Mary College Choral Society and several guest singers, entered in a wave of sound that washed over the audience. The choir, under the direction of assistant conductor Andrea Holt, was a force of nature. Their collective power resonated in the hall, harmonizing beautifully with the orchestra as they sang Mahler’s vision of resurrection and spiritual transcendence. The text’s themes of redemption and divine resurrection were conveyed with overwhelming conviction and clarity, leaving the audience in stunned silence.

The two vocal soloists, soprano Rebecca Peterson and mezzo-soprano Laura Hayes, brought even more emotion to the finale. Peterson’s crystalline soprano soared with effortless beauty, especially in the climactic moments, while Hayes provided a rich, earthy mezzo voice that perfectly contrasted with Peterson’s purity. The duet between the two soloists was one of the evening’s most moving moments, perfectly encapsulating the themes of life, death, and rebirth.

Ger’s leadership throughout the symphony was exemplary, particularly in the way he allowed each section of the orchestra to shine while maintaining a cohesive, unified sound. He navigated Mahler’s complex textures with a sensitivity that brought out the nuances of each movement. His interpretation of the work was one of profound understanding—an interpretation that not only respected Mahler’s intentions but also communicated the depth of the composer’s emotional and philosophical journey.

Aquinas Hall, with its intimate acoustics, proved to be an ideal setting for this performance. The hall’s warmth allowed the sound to envelop the audience, particularly in the quieter moments of the symphony, where the subtleties of the orchestral playing could be fully appreciated. At the same time, the more powerful passages were not lost in the space; rather, they filled the hall with an overwhelming sense of grandeur that heightened the emotional impact of the work.

The GNSO’s performance of Mahler’s Resurrection Symphony was a triumph—both musically and emotionally. Under Russell Ger’s brilliant direction, the Greater Newburgh Symphony Orchestra proved that it is capable of tackling the most ambitious of symphonic works with both skill and heart. The audience left the concert hall knowing they had just witnessed something truly extraordinary.

Peter Danish

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