Concert review | Katarina Barruk, who sang as a soloist of the city orchestra, took the audience far away from the concert hall

Classic

Helsinki City Orchestra at Musiikkitalo on October 4. Conductor Pekka Kuusisto. Katarina Barruk, vocals, Arnljot Nordvik, guitar, Christer Jørgensen, drums. – Tarkiainen, Rautavaara, Barruk, Tippett, Glass, Kendall, J.S. Bach, Tüür, Barruk – Nordvik.

Composer Outi Tarkiainen the music hits the listener from within. The concert premiered the composer’s latest birth-themed work, The Rapids of Lifein which feelings of danger and even violence were heard, which can be included in the birth event. This work would be useful in childbirth coaching.

Fire and ice, the mysteries of birth and death are for Tarkiainen, as well To Alexander Scriabinrecurring themes. The synesthesia of their music attracts the listener with a flash of the surface and soon captivates or intoxicates with its immediate and ecstatic effects. Music surrounds its listeners, which makes the listening experience entertaining. Tarkiai can be recommended especially for those who find classical or contemporary music somehow foreign.

Conductor Pekka Kuusiston the beat is delicate and airy, but on the flip side of the spontaneous and mercurial movement, the directional energy of the music and the structure of long lines are sometimes disturbed. Tarkiainen and Erkki-Sven Tüürin a certain slow warming was noticeable in the performances of the works.

Concert got up to speed in the second half, when the Umeå Sami Katarina Barruk started his performance. The program was skillfully prepared, and it was a cultural act to hear someone as part of a classical concert. Immediately Barruk Intro melted the centuries of musical ballast from the shoulders and the breath was freed.

Barruk’s songs did not demand an active listener, but simply called to be present. The concert was thus not only a musical, but also a therapeutic experience. For Joiu, the landscape was formed by guitar, drums and a string orchestra, between which Kuusisto, who offered Barruk a natural partner, acted as a liaison with his solo violin.

by Michael Tippett In Lament Kuusisto was in his element, skillfully dancing on a folk music theme. Bach’s chorale O Mensch, bewein’ dein’ Sünde Gross was performed oozing with heaven, and Barruk clearly enjoyed the interfaces created by the different compositions.

For a standing ovation at least a love ballad would still have been appropriate To Niäguoh after, but the audience did not dare to interrupt the ceremony, which was meant to be non-stop, by applauding. Bright Now brought the concert to a forward-looking conclusion. It’s a bit unfortunate that the audience was not fully offered the opportunity to thank the main star of the evening, Katarina Barruk, at the end of the concert.