A Sibelius evening that defied expectations, delivered by Osmo Vänskä's masterful baton. In a program that ranged from frosty mythologies to the gnomic utterances of Shostakovich's final symphony, the Finnish conductor drew out the composer's groundbreaking qualities in both familiar and lesser-known works.
In the Karelia Suite, for instance, Vänskä coaxed an unorthodox harmony out of the City of Birmingham Symphony Orchestra, tempering warmth with folk-inflected pungency. Conversely, intricate counterpoint that often goes unnoticed was revealed to great effect, particularly in outer movements where the orchestra's string section proved more than equal to the challenge.
Sibelius's occasional forays into vocal music also yielded dividends, as soprano Helena Juntunen's performances in several of the composer's most celebrated songs left little room for doubt. Her dramatic commitment was absolute, throwing herself wholeheartedly into each character study. Baron Magnus, a ballad with an unusually upbeat conclusion, stood out, thanks to Juntunen's evocative and expressive singing.
Vänskä also brought a compelling narrative drive to the tone poem Luonnotar, rooted in the Kalevala, Finland's national epic. This innovative masterpiece from 1913 continues to defy interpretation, yet Vänskä seemed fully attuned to its weird brilliance. He coaxed an air of mysticism and cosmic scope from the music, a sense of creation that felt both thrilling and unsettling.
Shostakovich's enigmatic final symphony proved a worthy foil to Sibelius, with Vänskä adopting a brisk, mischievous approach to the first half. Here, he revelled in the symphony's neurotic tics and percussive textures, coaxing an almost frantic energy from the orchestra. Conversely, in the slower movements, Vänskä calmed the music down, allowing diaphanous textures and a sustained tension to create a haunting, Chekhovian ache. In the end, it was as if the music itself was gasping for air, its dying breath a mixture of sorrow and mockery.
In the Karelia Suite, for instance, Vänskä coaxed an unorthodox harmony out of the City of Birmingham Symphony Orchestra, tempering warmth with folk-inflected pungency. Conversely, intricate counterpoint that often goes unnoticed was revealed to great effect, particularly in outer movements where the orchestra's string section proved more than equal to the challenge.
Sibelius's occasional forays into vocal music also yielded dividends, as soprano Helena Juntunen's performances in several of the composer's most celebrated songs left little room for doubt. Her dramatic commitment was absolute, throwing herself wholeheartedly into each character study. Baron Magnus, a ballad with an unusually upbeat conclusion, stood out, thanks to Juntunen's evocative and expressive singing.
Vänskä also brought a compelling narrative drive to the tone poem Luonnotar, rooted in the Kalevala, Finland's national epic. This innovative masterpiece from 1913 continues to defy interpretation, yet Vänskä seemed fully attuned to its weird brilliance. He coaxed an air of mysticism and cosmic scope from the music, a sense of creation that felt both thrilling and unsettling.
Shostakovich's enigmatic final symphony proved a worthy foil to Sibelius, with Vänskä adopting a brisk, mischievous approach to the first half. Here, he revelled in the symphony's neurotic tics and percussive textures, coaxing an almost frantic energy from the orchestra. Conversely, in the slower movements, Vänskä calmed the music down, allowing diaphanous textures and a sustained tension to create a haunting, Chekhovian ache. In the end, it was as if the music itself was gasping for air, its dying breath a mixture of sorrow and mockery.
just got back from the concert 
and I'm still buzzing! Osmo Vänskä is like a maestro magician 
he worked his baton magic on the City of Birmingham Symphony Orchestra and they totally killed it 
Sibelius's music can be so chilly 
but Vänskä brought the warmth 
especially in the Karelia Suite 
Helena Juntunen's vocals were absolutely stunning 
I mean, she just poured her heart out into every song and you could feel the emotions radiating from the stage 
Vänskä's direction was masterful too 
he had this way of drawing out the complexities in Shostakovich's final symphony that just gave me chills 
the whole evening was like a wild ride 
with Sibelius's tone poem Luonnotar being this otherworldly experience 
and I'm still reeling from it 
I mean, Osmo Vänskä must be some kinda magician or something! I just saw this concert and he made Sibelius sound like a totally different person... like, from one minute to the next, his music was all dark & moody but then suddenly it's like sunshine and happy folk songs 
! He brought such depth and nuance to sibelius's music that even though it was familiar to me, it felt like a whole new world 
. Helena Juntunen as a soprano is STUNNING btw 
. And Vänskä's way of handling shostakovich's final symphony? Mind blown 
. I mean, it was like they were two different languages or something, but Vänskä made them work together in perfect harmony. Can't wait to see what he does next! 
.
. It's got this cosmic, mystical vibe that's just mesmerizing.
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. All in all, though, this concert was pure magic 
. And Helena Juntunen's vocals in those Shostakovich songs? Absolutely stunning 
. His interpretation of that final Shostakovich symphony was so nuanced and thrilling, it had me on the edge of my seat 
, she brings so much drama and emotion to every performance.
The way he brought out that gnomic quality in Shostakovich's final symphony is EVERYTHING! 
. Like, don't get me wrong, they're both legends, but it's about time someone came in with a fresh perspective, ya know? The way he balanced warmth & folkiness in the Karelia Suite was pure genius 
But what really got me was Vänskä's take on Luonnotar... that weird brilliance thing he pulled out of the music was wild 
. Don't get me wrong, it worked, but sometimes less is more, you feel?
that final symphony from Shostakovich is so intense, but Vänskä handled it really well. It's crazy to think Sibelius wrote all those songs back in 1913 and they still sound as good today as they do now 
. but what really got me was Luonnotar - it's like Vänskä somehow tapped into this otherworldly energy that just blew my mind 
Shostakovich's final symphony is so underrated Vänskä's take is both thrilling and haunting at the same time, can't get enough of it 
! Her performances had such conviction & passion, I felt my heart swell with pride 
. I'm already counting down until his next concert 
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. And the way he balances the music between all these different emotions and moods... it's just masterful 
. The Finnish conductor has a way of tapping into that unique Nordic magic 
His baton work is so effortless, yet packs an emotional punch 