{"id":124594,"date":"2026-05-26T15:48:25","date_gmt":"2026-05-26T19:48:25","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=124594"},"modified":"2026-05-26T15:48:25","modified_gmt":"2026-05-26T19:48:25","slug":"interview-cathedral-bluffs-symphony-orchestra-presents-darkness-light-mahlers-second","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2026\/05\/26\/interview-cathedral-bluffs-symphony-orchestra-presents-darkness-light-mahlers-second\/","title":{"rendered":"INTERVIEW | The Cathedral Bluffs Symphony Orchestra Presents Darkness To Light: Mahler\u2019s Second"},"content":{"rendered":"
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L: Cathedral Bluffs Symphony Orchestra Music Director Martin MacDonald (Photo courtesy of CSBO); R: Composer Gustav Mahler (Public domain)<\/figcaption><\/figure>\n

The Cathedral Bluffs Symphony Orchestra will end their 2025\/26 season with Mahler\u2019s epic Symphony No. 2 in C minor, Resurrection. Martin MacDonald<\/strong> conducts, and the performance also features soprano Emily Rocha, mezzo-soprano Queen Hezumuryango<\/strong>, and Pax Christi Chorale<\/strong> with Artistic Director Elaine Choi<\/strong>.<\/p>\n

The concert takes place on May 30, 2026.<\/p>\n

LV talked to Music Director Martin MacDonald, and vocalists Emily Rocha and Queen Hezumuryango about the concert.<\/p>\n

Mahler Symphony No. 2 in C minor Resurrection<\/h2>\n

Mahler wrote his Resurrection Symphony Between 1888 and 1894, and it proved to be one of the most successful works. It was performed for the first time in 1895.<\/p>\n

The Resurrection Symphony is a massive work, lasting 80 to 90 minutes. It began as a single movement symphonic poem titled Totenfeier or Funeral Rites, which he completed in 1888. Years went by as he considered whether or not to add to it, making it the first movement of a symphony. He intended on using a chorus in the final movement, and felt that it would inevitably be compared to Beethoven\u2019s iconic Symphony No. 9.<\/p>\n

He also searched for the right text for the vocal components. During the 1890s, the composer worked at the Hamburg Opera, where he came to know conductor Hans von B\u00fclow. When the maestro died in 1894, at his funeral Mahler heard a musical setting for Friedrich Gottlieb Klopstock’s poem \u201cDie Auferstehung\u201d or The Resurrection, and he was instantly struck by it.<\/p>\n

\u201cIt struck me like lightning, this thing,\u201d he wrote to conductor Anton Seidl, \u201cand everything was revealed to me clear and plain.\u201d<\/p>\n

Mahler used the first two verses of Kopstock\u2019s poem in his symphony, adding words of his own. Over repeated performances, he developed a narrative program to go along with the work, indicating that the first movement represented a funeral, and asking the question \u201cIs there life after death?\u201d He later removed the program notes, but the mood remains.<\/p>\n

From the second movement, the piece moves through happy remembrances to the emptiness of life as a meaningless journey, resulting in the desire to be released from it. The final and fifth movement ends with the hope of renewal and resurrection.<\/p>\n

Martin MacDonald: The Interview<\/h2>\n

The two vocalists were both part of the Canadian Opera Company\u2019s Ensemble Studio, Queen Hezumuryango<\/strong> from 2022 to 2025, and Emily Rocha<\/strong> from 2024, ending her term this year.<\/p>\n

\u201cIt was sort of by coincidence that, at the time when we selected, they were both in the Ensemble Studio,\u201d MacDonald says.<\/p>\n

\u201cQueen, I got to know last summer when she was Carmen at the Brott Music Festival,\u201d he explains. \u201cI had already asked her to be part of this Mahler Resurrection Symphony at that point. She was very excited to take it on.\u201d<\/p>\n

It certainly offers a singer a juicy, expressive part.<\/p>\n

\u201cThis particular symphony for the mezzo soprano, the fourth movement, it\u2019s just one of the most gorgeous pieces of music that has ever been written, to my mind.\u201d<\/p>\n

It\u2019s part of the composer\u2019s gift. \u201cMahler was so equally capable of creating the softest, most delicate passages you could ever create, at the same time as creating the most bombastic.\u201d MacDonald cites Mahler\u2019s control over the orchestra and instrumentation. \u201c[He had] an immense skill for that.\u201d<\/p>\n

The Newest Edition<\/h3>\n

\u201cI kind of made a big deal of playing the most recent edition of this symphony,\u201d Martin says. \u201cThis symphony has gone through a few editions over the last 100 years or so. Mahler liked to change things during rehearsals.\u201d<\/p>\n

The composer enjoyed conducting his symphony, as MacDonald explains, and often made notes on the fly. \u201cChanges would not always get transcribed into the parts, or get taken down properly,\u201d he says.<\/p>\n

\u201cWe went to expense of renting the parts from Europe. And it\u2019s really paid off \u2014 we don\u2019t spend oodles of time in rehearsals fixing tiny mistakes from previous editions. These tiny changes that he would make \u2014 like starting a diminuendo earlier \u2014 it changes the trajectory of the phrase,\u201d he adds, \u201csimilar with all his symphonies.\u201d<\/p>\n

The European up to date version was an investment. \u201cI got the score, the most recent edition, and it cost a small fortune. But it came with an annex, a second book that is 206 pages long of 10 point font explaining all the changes to the work,\u201d MacDonald continues.<\/p>\n

\u201cIt saves time,\u201d he says, \u201cespecially when you\u2019re dealing with a piece as big as this. The last movement is like a symphony of itself. The first movement is like a symphony of itself. There is so much emotional weight, and things to consider.\u201d<\/p>\n

Collaborators<\/h3>\n

Soprano Emily Rocha will be at the Brott Opera this summer, where she\u2019ll also be working with MacDonald.<\/p>\n

\u201cAnd then of course, Pax Christi Chorale<\/strong>. We had them sing our Beethoven 9 at the opening of last season, and it was such a really lovely partnership in every way. Musical and otherwise,\u201d he says. \u201cAs soon as we started thinking about the Mahler, we thought of Pax right away. Elaine, their director, is really lovely.\u201d<\/p>\n

The regular orchestra will be bolstered with additional musicians to create the massive sound Mahler envisioned.<\/p>\n

\u201cThe orchestra is huge. We\u2019re lucky. This is our 40th season closing concert, and there\u2019s no better way to close an anniversary season,\u201d MacDonald says.<\/p>\n

The orchestra will be augmented by musicians who\u2019ve previously guested with CBSO, as well as new players.<\/p>\n

\u201cIt\u2019s a huge brass section, and a massive wind section \u2014 and you need enough strings to balance that out. It\u2019s everything and the kitchen sink,\u201d Martin says. \u201cIt\u2019s a nice way to end the 40th season by being able to invite so many friends back to celebrate.\u201d<\/p>\n

It wasn\u2019t hard to persuade people.<\/p>\n

\u201cThe other thing too is, Mahler\u2019s Resurrection Symphony, it doesn\u2019t matter who you speak to musician-wise, whether it\u2019s seasoned veterans or amateur musicians […] everybody says, yes, I\u2019d love to play that. There are so many epic moments.\u201d<\/p>\n