Abendzeitung München, Robert Braunmüller
“The Spaniard has previously attracted attention with Wagner, Schumann and early music, but not with Mahler. Now we know that he has a lot to say here as well: Heras-Casado played the funeral march as a kind of prologue in a gripping and energetic manner, then concentrated on the imperceptible transformation of the music into optimism. In the second movement, the chorale emerged imperceptibly and surprisingly from nowhere, which is not easy to achieve. In the Scherzo, the conductor emphasized the vital over the destructive, and the Adagietto was not bathed in melancholy, but was what it is: a love song.”
“One would like to hear more Mahler from Heras-Casado. It is wrong to leave such monumental works (such as those by Bruckner) predominantly to the 60-plus generation of conductors, who too often place the serene and Weltschmerz in the foreground.”
tz, Gabriele Luster, 23.05.25 (Münchner Merkur)
“Heras-Casado impresses with the Philharmoniker“
“Heras-Casado conducted without a baton, but with great energy. The Philharmoniker followed him animatedly. In the central scherzo, the softly intoning, flexible horn (Matías Piñeira) initially invited the audience to join in the dance, which escalated into a highly complex interaction with and against each other.”