Finland
David Nice
A second night of Sibelius symphonies at the Proms, packed to the rafters just like its predecessor. Exit Thomas Dausgaard, the tuba needed for the first two symphonies but not for the Third or – surprising given its pervasive darkness – the Fourth, and the air that had billowed around supremely supple performances. Enter Ilan Volkov to bring too much dark earth and inorganic point-making at first, though the BBC Scottish Symphony Orchestra, its strings sounding tougher if less inward from a different point in the hall, was still on world-class form.The programme was identical to the second Read more ...
David Nice
From Sakari Oramo’s riveting Nielsen symphonies at the Barbican to Thomas Dausgaard kicking off the Proms’ Sibelius cycle, the two Nordic immortals are well served in their 150th birthday year. The BBC Scottish Symphony Orchestra, whose reins Dausgaard takes over from the great Donald Runnicles in 2016, may not have the sheer heft of the Berlin Philharmonic strings we heard earlier this year in Rattle’s Sibelius. But the Glasgow-based players get much deeper under the skin, and prove so much lighter on their feet when the Danish conductor takes flight. Sibelius’s hard-to-handle treasury of Read more ...
David Nice
A packed Albert Hall told an instructive story: programme Holst’s The Planets at the Proms and you can dare to do anything in the first half. Besides, though it will be a red letter day when we don’t have to put “women” in front of “conductors”, the Marin Alsop Last Night effect may have kindled interest in Susanna Mälkki, top of a still too-small list from the two concerts I’ve heard her give with the BBC Symphony Orchestra.Mälkki seems just as authoritative in mainstream romantic and 20th century scores as she is in thornier so-called contemporary music (she spent seven years with Ensemble Read more ...
David Nice
Vladimir Ashkenazy should be made an honorary Finn: not just for his constant championship of Sibelius’s orchestral works throughout his conducting life so far, but above all for the way he understands them. On the evidence of last night’s 150th anniversary concert, crowned by a superbly direct performance of the Second Symphony, his approach is now thoroughly Finnish at the deepest level in the way that it paces the sentiment, effortlessly negotiates the shifts of mood without histrionics and shears the music of romantic rhetoric. No Slavic or Teutonic plushness here.The first half, a Read more ...
David Nice
No two symphonic swansongs could be more different than Sibelius’s heart-of-darkness Tapiola and Nielsen’s enigmatically joky Sixth Symphony. In its evasive yet organic jumpiness, the Danish composer’s anything but “Simple Symphony” – the Sixth’s subtitle – seemed last night to have most in common with another work from the mid-1920s, Rachmaninov’s Fourth Piano Concerto.These are the connections and contrasts that the BBC Symphony Orchestra’s chief conductor Sakari Oramo has been underlining in his six-concert journey around the Nielsen symphonies. Last night’s typically confounding finale Read more ...
alexandra.coghlan
There was a moment half-way through Jonathan Dove’s children’s opera Swanhunter when I suddenly realised why pantomime developed its convention of the principal boy. Having a grown man prancing and posturing boyishly for the entertainment of a room full of kids feels odd, affected somehow, distorting the simplicity and sincerity of the tale being told. Which is a shame when, as here, the theatrical trappings are so vivid and enticing.Premiered by Opera North in 2009, Swanhunter is now – in a rare vote of confidence for a new work – getting a second outing from the company, in a fresh touring Read more ...
David Nice
I’ve just spent five weeks in the company of a very austere and sometimes frightening masterpiece, Sibelius’s Fourth Symphony, hearing a great many recordings of it for Building a Library, the abiding gem of Radio 3’s CD Review in which the critic takes the listener through the piece and chooses a front runner. Now that I’ve reached the finishing post, having scripted the three-quarters-of-an-hour slot with all the snippets from the best and worst of the various recordings - the middle-grounders rather lose out - people are inclined to ask, “ain’t you sick of it?”. Far from it. The Read more ...
David Nice
Rattle and the Berliners went home at the beginning of the week with vine-leaves in their hair. There's now something else to celebrate. Exactly one week on from the second concert in their Sibelius cycle, the Barbican hosted even more of an all-out stunner, starting with Sibelius no less compellingly conducted than the best of last week’s symphonic cycle and ending with a performance of the "Inextinguishable" Fourth Symphony by this year’s other 150th birthday composer, the great Dane Carl Nielsen, which electrified from start to finish.In his first ever concert with a major London orchestra Read more ...
David Nice
Bass lines were Edward Seckerson’s starting point yesterday in welcoming the Berlin Philharmonic Sibelius cycle to London, and none strikes more terror from the depths than the subterranean growl that launches the most selectively-scored symphony of the 20th Century, the Fourth. Awe-inspiring is how it sounds on Sir Simon Rattle’s 1986 City of Birmingham Symphony Orchestra recording, with a little help perhaps from the engineer, and those eight Berlin Philharmonic double-basses last night were not going to stint on its force either.Yet the beginning of the concert reminded us that cellos and Read more ...
edward.seckerson
Sir Simon Rattle’s Sibelian journey has been long and fruitful and has taken him all the way from Birmingham to Berlin, and more particularly the revered Philharmonic where the spaces between the notes now resonate in extraordinary ways and the bass lines are sunk deeper than with any other orchestra on the planet. Beginning their London residency with the first two of Sibelius’s symphonies (the rest to follow over the next few days) gave us a chance to feel how organically Sibelius became Sibelius and how the music effectively seemed to come up through the bass lines. The wonder of the Read more ...
Kieron Tyler
Finland’s album of the year, the number one, gold-selling and best-of-2014 poll-topper Pepe & Saimaa, has barely registered elsewhere. Probably not a crime but a damn shame nonetheless as the album, released in May, is undoubtedly an all-time great. Despite being entirely in Finnish, Pepe & Saimaa is crammed with beatific melodies carried by an emotive, warm voice evoking pre-falsetto Bee Gees, David Bowie, Scott Walker and Brian Wilson. The voice seamlessly meshes with music nodding to mid-Seventies Kraftwerk, similarly dated Isley Brothers and The Beach Boys. With full orchestration Read more ...
David Nice
Most pianists never truly master one of Brahms’s two piano concertos, those colossal symphonies for soloist and orchestra, let alone both. To present the two in one concert, then, seems foolhardy – and apparently was when András Schiff went for the marathon at the Edinburgh Festival during the Brian McMaster era. No-one expected anything but true majesty, though, when Elisabeth Leonskaja asked to do the same. The Scottish Chamber Orchestra duly obliged, taking up her suggestion of Okko Kamu, a Finnish master I haven’t seen for decades, as conductor. The result was almost off the Richter scale Read more ...