Vänskä's CBSO debut brings Sibelius's lyricism to life in a compelling programme that balances myth and mysticism.
This evening's repertoire was anchored by the Finnish conductor Osmo Vänskä, whose decades-long experience with Sibelius lent an air of authority to his interpretations. However, it was not just familiarity that made these performances sing – Vänskä had a knack for unearthing the innovative qualities in some of the composer's more conventional works.
The Karelia Suite, in particular, benefited from Vänskä's expert guidance, its central movement yielding to a richly textured harmony that grounded the music's folk-inflected sensibilities. Conversely, it was also in these same outer movements where Vänskä skillfully coaxed out the intricate counterpoint that underpinned Sibelius's orchestrations.
A more dramatic turn of events came with the inclusion of three lesser-known vocal works by Sibelius, starring a characterful Helena Juntunen. With each performance, she demonstrated her remarkable acting chops as the Finnish singer poured her heart and soul into roles such as 'Baron Magnus', an enchanting lyrical ballad about a nobleman's dalliance with a mermaid.
Juntunen's captivating performances not only proved to be character-driven but also showcased her exceptional vocal range, stirring the audience with every crystal-clear syllable. Her portrayal of a gloomy nobleman was equally compelling in 'Baron Magnus', where dramatic commitment and an absolute sense of emotional depth left the audience hanging on her every word.
The tone poem Luonnotar brought a new dimension to Vänskä's conducting, as it wove together a rich tapestry inspired by Kalevala. The music conjured up a world both beautiful and unsettling – Juntunen perfectly captured its 'weird brilliance', while Vänskä skillfully guided the CBSO through its numerous neurotic tics.
The evening also featured Shostakovich's 15th symphony, an enigmatic work that drew comparisons to Chekhov. In a bold move, Vänskä opted for a brisk, puckish approach to the up-tempo movements, allowing the music's intricate textures and sustained tension to shine through. A masterclass in orchestral playing ensued, as percussionists reveled in the symphony's neurotic eccentricities.
This evening's repertoire was anchored by the Finnish conductor Osmo Vänskä, whose decades-long experience with Sibelius lent an air of authority to his interpretations. However, it was not just familiarity that made these performances sing – Vänskä had a knack for unearthing the innovative qualities in some of the composer's more conventional works.
The Karelia Suite, in particular, benefited from Vänskä's expert guidance, its central movement yielding to a richly textured harmony that grounded the music's folk-inflected sensibilities. Conversely, it was also in these same outer movements where Vänskä skillfully coaxed out the intricate counterpoint that underpinned Sibelius's orchestrations.
A more dramatic turn of events came with the inclusion of three lesser-known vocal works by Sibelius, starring a characterful Helena Juntunen. With each performance, she demonstrated her remarkable acting chops as the Finnish singer poured her heart and soul into roles such as 'Baron Magnus', an enchanting lyrical ballad about a nobleman's dalliance with a mermaid.
Juntunen's captivating performances not only proved to be character-driven but also showcased her exceptional vocal range, stirring the audience with every crystal-clear syllable. Her portrayal of a gloomy nobleman was equally compelling in 'Baron Magnus', where dramatic commitment and an absolute sense of emotional depth left the audience hanging on her every word.
The tone poem Luonnotar brought a new dimension to Vänskä's conducting, as it wove together a rich tapestry inspired by Kalevala. The music conjured up a world both beautiful and unsettling – Juntunen perfectly captured its 'weird brilliance', while Vänskä skillfully guided the CBSO through its numerous neurotic tics.
The evening also featured Shostakovich's 15th symphony, an enigmatic work that drew comparisons to Chekhov. In a bold move, Vänskä opted for a brisk, puckish approach to the up-tempo movements, allowing the music's intricate textures and sustained tension to shine through. A masterclass in orchestral playing ensued, as percussionists reveled in the symphony's neurotic eccentricities.
! As a parent, I love when kids (and adults alike) get to experience beautiful music that transports them to another world. It reminded me of how Sibelius's Lyric Suite sounds like a magical fairy tale come true 
... for me it feels so uplifting and life-affirming 
. The whole evening felt very intimate and engaging, I loved how Vänskä brought out the complexities in some of the pieces, even those that might seem more straightforward at first 
. And Helena Juntunen was absolutely phenomenal as a vocalist, she's got such a gift for conveying emotions through song 
her voice is giving me LIFE 
also that luonnotar tone poem was like a whole different world 
it's amazing how much depth and complexity vanskas brought to the music. can't wait for more of this guy's performances 
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! Vänskä's brisk approach totally worked for me - it was like a breath of fresh air after all that tension.
. Have they got any more Sibelius coming up?
and helena juntunen's vocals were insane she has this amazing range and control that just takes you on a journey with her singing 
.
! I mean, you can tell he's been studying those Finnish composers for ages, 'cause his interpretations are on point. The Karelia Suite was like a whole new level of harmony and counterpoint – I was blown away! And Helena Juntunen's vocals? Whoa, she's got talent pouring outta every pore 
it reminded me of a Finnish forest, so beautiful and yet so eerie at the same time! Helena Juntunen was stunning as always, her vocals had that magic that just draws you in. And can we talk about Osmo's conducting skills? The guy is like a conductor whisperer or something 
. But what really got me was Helena Juntunen's vocals - she absolutely stole the show 
! The way she poured her heart and soul into those lesser-known vocal works... it gave chills down my spine 
. And Vänskä's conducting? Top-notch as always 
!
. As for Shostakovich's 15th symphony, I was a bit skeptical at first but Vänskä really brought out its quirky charm 
. The way he made that music sound like Chekhov's stories? Genius! Anyway, it felt like stepping back into the past when I heard Sibelius's music last night... so refreshing 
.
I mean don't get me wrong, he's a decent conductor and all but come on guys, it's not like he's the first one to bring out the Finnish composer's best stuff. And what's with the emphasis on 'myth and mysticism' every time? It's just music