As a conductor, Pekka Kuusisto also knows what he wants and usually shows it clearly.
Tapiola Sinfonietta in Tapiolasali 20.11. Pekka Kuusisto, conductor, Danae Kontora, soprano. Clyne, Dean, Farrenc.
Pekka Kuusisto led Anna Clynen Sound and Fury premiered at the Scottish Chamber Orchestra Concert in Edinburgh in November 2019. In the atmosphere he knows the structure of this melody down to every characteristic and detail.
Sakari Oramo led the same work at an RSO concert last September. Now it was on the program at the Tapiola Sinfonietta concert conducted by Kuusisto. You would love to hear the exciting, gloomy passionate melodic adventure for the third time.
Could due to the second listening, it was now easier to pay attention to what is at the bottom of the music Haydnin buffo-spiritual 60th Symphony material.
Clyne twists, cleaves, and distorts Haydn’s motives in the first episode, creating a sense of chaos. In the end, the motives become random, like a mindless lottery.
The perks of classicism, on the other hand, are also the consistent clarity of the structure, which became clear in Kuusisto’s view.
Sibelius storm blowers and dark depression came to mind again. Bartókthe quote sounded even more joking.
The female voice uttered from the tape Shakespeare Macbethin famous, depressed silage harrows. The death bells are ringing. It is good that the translation was reflected on the back wall.
Multilevel Sound and Fury is also a philosophically exciting work that tells of the disappearance of time, the absurd rage, death, the disintegration of everything, and the futility of everything.
Tragic The Shakespeare story continued with the Australian Brett Deanin in the book And once I played Ophelia for soprano and string orchestra (2013).
The soloist was sung by a Greek colorature soprano Danae Office, whose ethereal, long and light white – clad figure was associated with Hamlet ‘s Ophelia.
The English Pre-Raphaelite also came to mind John Everett Mill famous painting Opheliawith a beautiful maiden floating singing in the stream before drowning.
In the song series Ofelia has lost her sense of reality and lives in her delusional memories and thoughts. Ophelia’s psychic scene is all the more real in her incisive horror and pain.
The five-part song series rang from panic to mystical silence. To the office ball, a beautiful and skillful soprano conveyed the strange, often distorted poetry of the music, the anxious and screaming moments, and the depressed dreaminess. The string orchestra painted electrified varying mental landscapes.
Concert ended in French Louise Farrencin (1804–1875) to the third, Symphony in G minor (1847), which is considered his best.
I had previously heard hilarious and rhythmically lively, bright chamber music from Farrenc. It was interesting to make the acquaintance of Farrenc dark dramatic and romantic side.
Farrenc’s role models were Haydn, Mozart and Beethoven, and the symphony proves complete control of classical structures and development. The whole symphony is bright and balanced in shape, moving smoothly, colorful and varied in its playing.
Kuusisto made Farrenc’s music breathe both drama and romantic warmth. Also as a conductor, he knows what he wants and usually shows it clearly.