|
 This
is one of the finest Kullervos
on record - especially if you count modern records. The superb 1992
Sony recording is crisp and clear, revealing many details from top
to bottom, the sound full of body as well.
"Kullervo
departs for War"
by Akseli Gallen-Kallela.
The
Los Angeles Philharmonic Orchestra does America proud, responding
splendidly to the music's curves, bursts and corners. I find myself
hearing everything much more clearly, in much more detail. Salonen
must have done much to cultivate a sense for the music's shapes
in the orchestra - the phrasing exhibited by the LA musicians are
very expertly sculpted, very musical. They are absolutely together,
and solos are remarkably confident and even-toned.
Fantastic
work by the percussion section for example; listen for the triangles
and even Sibelius' highly original timpani writing. Not to mention
the famous brass of the Americas - too many examples here, humming
funereally, blasting in battle and glory; and of course concluding
everything in heroic voice - watch out for the trombones and horns.
The
bass lines, another Sibelian hallmark, are also excellently drawn
in the orchestral picture. And the flutes, fluttering and chirping
brilliantly throughout. The other way of putting all this is - the
orchestra and conductor are very well-rehearsed; they sound as if
they've been playing this all their lives and never got sick of
it. The enthusiasm is very infectious.
In particular, I find their dedicated service to the choral and
vocal parts an excellent model of how choral-orchestral music like
this should be done. The orchestra matches each and every singer
phrase for phrase, coming in perfectly to punctuate their vocal
drama. Even without the voices, there is a very real sensitivity
towards the theatre of the score - see the subtle and so luscious
change of pace at 6:06 in Kullervo goes to War. Very nice.
All this breathes new life to the Kullervo score for me.
Marianne
Rørholm's role is sung with a natural sense to the drama
of the work; she has a "laid-back" voice, is in full control,
and makes her part sound unusually easy. Her smooth throaty tone
suits the music extremely well - it brings out the nobility but
also the tenderness of the part. I have rarely heard the central
passage of Kullervo's sister sung with such lyric sweetness. It
is arguably the most attractive performance I've ever reviewed.
Rørholm's rendition of the awkward and fast recitative-like
rejection passage is also very well done, more natural than most
versions I've heard - I think her answer lies in getting it over
quickly but light-footedly. The scene on the peak where her calls
are answered seemingly by the evocative chirps of woodland birdsong
is particularly beautiful as well - credit to the LAPO flutists
too.
 Jorma
Hynninen (left), the world's most experienced Kullervo (not just
Sibelius' Kullervo, but also Sallinen's opera on the same
story) no doubt, is his usual self. It is almost trivialising to
put it this way, but that's how it is! He is in magnificent voice
here, if a tiny bit less lyrical than I remember from his older
recordings. Neither is the "Woe my day" passage as anguished
and delirious as the 1985 Berglund recording, but again - what a
heroic baritone this is!
Even
the choir in attendance, the (male chorus of the) Helsinki University
Chorus is no doubt the world's most experienced Kullervo
chorus. Their singing brims with confidence but also a kind of relaxed
restraint, which does wonders for their choral role as narrator
(much like a Greek chorus). There is also more than a touch of familiarity
in their interpretation, at least on the part of this listener.
But here and there, there are details which set this performance
apart, beginning with their first appearance - listen for the dip
in dynamics at the 5th line, "Läksi viemähän
vetoja" - you don't quite hear this level of detailed conducting
elsewhere.
The
ending of the central movement is not the most dramatic (read: violent,
tragic) of the versions I've heard - for that, I will still refer
to the Berglund versions (particularly Hynninen in the 1985 recording).
Berglund's
Kullervo has brought tears to my eyes - now I add to this
small hall of fame Salonen's recording as well. I find the final
movement utterly tragic - the sword scene is a powerful drama mixing
the gruesome nature of suicide with the tragedy of Kullervo's guilt,
mashed almost cruelly into the tongue-stinging irony(?) and unforced
truth of the sword's answer. Salonen's and his group's performance
of this movement is completely stamped with authority and power
- the Helsinki University Choir and orchestra seem part dramatist,
part jury, painting and sealing Kullervo's shocking fate. Immediately
after his death, the funeral orchestral passage is incredibly beautiful
yet tragic - most poetic; its quiet languishing in direct contrast
to the final burst.
By
and large, one of the greatest assets of this performance is its
extremely high level of finesse - as I've said, it sounds very well-rehearsed.
Everything is in control, though not tightly so. Indeed, it makes
a perfect opera - I wonder again if it's possible to stage a theatrical
version of the work. If I have to find a flaw in the performance,
it could be that there is a small loss in terms of outright abandon
- for example, the most "violent" passages are not as
earthshaking as those done by Berglund. But this is not truly a
major fault - no one investing in Salonen's superlative effort here
will be disappointed. By all means, listen to the classic Berglunds
as well.
The
INKPOT SIBELIUS NUTCASE watched
Gladiator the other day and wonders further about this thing
about heros, anti-heroes and their sisters...
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respond to this article, please post your comments to classical@inkpot.com
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6.2.2001 ŠISN
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