Mandle Philharmonic Orchestra: Mahler Symphony No. 2, Mandle Cheung, conductor, with mezzo-soprano Alex Hetherington. soprano Leslie Bouza & The Amadeus Choir of Greater Toronto. May 22, 2026, Meridian Arts Centre, Toronto.
Of the nine symphonies composed by Gustav Mahler, his Second, The Resurrection, is arguably the most profound, an astounding meditation on life, death and rebirth, a precis on the meaning of human existence.
When I heard it for the first time when I was still in my teens, as a first-year university undergrad in a freshmen music survey course, I appreciated its monumental musical architecture, its structural grandeur and most of all its sonic beauty. Its philosophical musings? I am afraid it was lost on me at the time. I was too young to understand its deep philosophical meaning.
It wasn’t until decades later, after experiencing the pains of sadness and loss, that it started to resonate with me on a deeper level. Today, it ranks as one of my very favourite symphonic works. For the fun of it, I just did a casual google search as to its popularity. Of the seven random “Best Symphonies” webpages I encountered, Mahler 2 is ranked among the top ten in six of them, and as high as #1. That’s saying something.
For the musicians — and conductors — who take on Mahler 2, it is quite the daunting task. To do it justice, it requires a large orchestra, which means 100 musicians. A rough count of the Mandle Philharmonic on the program list yielded 95+ members. Their strength was not just in the numbers, but in the way they played. These are gifted musicians playing for other, well-known orchestras, and they sounded terrific to my ears.
Mandle Cheung & Mahler
I was in the audience on June 25 last year when Mr. Cheung conducted the Toronto Symphony Orchestra in a performance of Mahler 2. I was very impressed then, especially when you consider it was the first time Cheung had led the TSO, not to mention that there were some reported rumblings of unhappiness among the players over the fee for service arrangement.
This time around, we have the Mandle Philharmonic, made up of players from Mr. Cheung’s own orchestra, players who wanted to be there.
Given that Mandle Cheung and his Mandle Philharmonic have already given 18 concerts, he knows his troupe well, and it shows. I can honestly say that I was very taken by the sound coming from the orchestra. Mahler Second never fails to move me, and this time it was no exception.
I had a seat on the left side, with an excellent view of the conductor. I focused my attention on him most of the time. I was impressed by his taut and clear baton, with admirable rhythmic precision, presenting the monumental work as a single, coherent whole. Without a doubt, Cheung worked hard and it showed in the result.
There’s an underlying energy, yes, even passion, in the playing of the musicians. I certainly feel a genuine affection for the work from the conductor. I had the good fortune to have sat in on a rehearsal a few days earlier. The first movement, a Funeral March, had all the requisite fire and brimstone, enough to put fear of God into the heart of everyone in the audience — certainly in mine.
A terrific start to the proceedings. It took me years but now I just find this movement deeply moving.
The Choir & Soloists
There was a pause right after the conclusion of the opening movement, seldom observed these days in performance, although it was specified by Mahler. During the pause, The Amadeus Choir of Greater Toronto came in to take their place in the choir loft, and the two soloists came onstage. This is a good way to honour Mahler’s intentions and to create a natural pause between the first movement and the rest of the symphony. It also saves the choir and the soloists from sitting idly on stage for almost half an hour.
Plenty of lovely moments followed. The second movement Mahler used a dance theme he composed some years ago, as a “flashback of shared happiness with the deceased,” beautifully played here, without any heaviness.
Fourth and fifth, the vocal movements, were for a long time my favourite parts of the symphony, especially when my first exposure was to the Bernstein recording featuring the incomparable Janet Baker, whose Urlicht just moved me to tears. Of course, I hardly ever hear one I don’t like, and it certainly was beautifully sung by Canadian mezzo Alex Hetherington.
Soprano Leslie Bouza was a fine soprano soloist in the last movement as well, her voice blended beautifully with the wonderful 90+ in the chorus. The moment the choir made their first sound, I thought — wow, we’re in for a treat!
Final Thoughts
Finally, I want to comment on the impeccable behaviour of the audience, not a sound, and totally attentive.
Yes, there was a slight disruption five minutes after the start of the first movement when about 25 latecomers were allowed in during the performance to take their seats. No, it wasn’t ideal, but the latecomers were as quiet as they possibly could. Attendance at 85% was sadly not full, but that is not bad these days for a symphony concert.
I look forward to hearing them perform Mahler 2 again on July 24, to take place at the RBC Amphitheatre in Ontario Place.
Are you looking to promote an event? Have a news tip? Need to know the best events happening this weekend? Send us a note.
#LUDWIGVAN
Get the daily arts news straight to your inbox.
Sign up for the Ludwig Van Toronto e-Blast! — local classical music and opera news straight to your inbox HERE.
- SCRUTINY | Mandle Philharmonic Offers A Transcendent Performance Of Mahler Second - May 25, 2026
- SCRUTINY | University Of Toronto Opera’s The First Viennese School Showcases Voices of Tomorrow - March 30, 2026
- SCRUTINY | Glenn Gould School’s Rossini-Puccini Double Bill Hits The Comic Jackpot - March 25, 2026
