Concert evaluation The Malmstén show has a happy hurlumhei atmosphere

HumppAvanti led by Timo Hietanen! was in full swing at the Svenska Teatern in a revue – like cavalcade directed by Juha Siltanen.

Entertainment

Everything will be arranged, Ta de ‘lungt below the tider. Georg Malmstén & HumppAvanti! Svenska Teatern 17.10. Screenplay and direction by Juha Siltanen, arrangements and musical direction by Timo Hietala. Soloists Arja Saijonmaa, Anna Hultin, Sam Huber, Paavo Kerosuo.

HumppAvanti! is in full swing in the new Svenska Teatern Georg Malmstén show and play in a hilarious way like the last day.

One may ask how well the jazzy circus and musical clown of Avanti snipers fit into Malmstén’s songs. Well, it fits in quite well with at least Malmstén’s Finnish-Swedish, optimistic and good-natured side.

Molli-Jori is an image often associated with Malmstén. That’s completely wrong, as most of his 842 songs move happily in major.

However, the emotional melodies of Malmstén, in which Slavic longing inherited from a Russian-born mother is played, have caught the mind of many.

The Hurlumhei atmosphere dominates Juha Siltasen the front of a revual cavalcade constructed and directed by At the same time, it gets a very Finnish-Swedish coloring in this fairly even bilingual performance.

“If you forget about grief and hardship, it’s in a good mood,” he announces Anna Hultin, who in the show almost prototypically represents the joyful cheerfulness of Finnish – Swedish, though not devoid of self – irony.

Optimism is undeniably a good attitude to life as it helps to cope and eliminate stress and fears. However, there is also talk of optimistic delusion.

Sometimes it felt like Timo Hietanen led by HumppAvanti! jokes unnecessarily enthusiastically. Panicous humor could have been dispensed more sparingly and relied more on the expressive power of Malmstén’s heartbreaking, naturally flowing melodies.

I think the best moments of the show are Sam Huberin a yankee roughly roughly presented A pennyless dreamer. The accompaniment is simple, the noise away.

Even in Malmstén’s grief, there is always a comforting hope.

Malmstén himself had a warm lyrical baritone voice and classical training. She sang naturally beautifully and lightly emotionally, sensitively emphasizing keywords. Without exaggerating, he took the joy out of his humorous and fast-paced rhythmic songs. In the children’s songs, he was a funny and warm-hearted fairy tale.

Arja Saijonmaa gives his own Malmstén numbers a theatrical look by emphasizing the dark chest register of his alto voice. Huber’s stiff unpretentiousness is a good opposite Paavo Kerosuo for the lively stadium.

Their own chapters are clarinetists Kari Kriikun stepping and klezmer-type revelry as well as a violinist John Storgårdsin a modernist screaming virtuoso parody.

When the first half is primarily a whimsical joy, after the interval the mood darkens for a moment. It’s a welcome dramaturgical twist in a slightly unnecessarily long performance. It was prepared in a hurry, which could be noticed in Saturday’s day show.

A welcome variation are also in the second half latinorytmit. The little man has become a tenaciously pulling Cha Cha cha. The fatal samba culminates in explosively hot Afro-Latin drum solos.

About the audience there were the majority of us seniors whose mental landscape Malmstén has belonged to since childhood. Unfortunately for the younger generation, Malmstén seems to be of unknown greatness.

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