Jean SIBELIUS (1865-1957)
Kullervo, Op. 7 (1892)
Johanna Rusanen (soprano), Ville Rusanen (baritone), Estonian National Male Choir, The Polytech Choir, Finnish Radio Symphony Orchestra / Hannu Lintu
rec. 2018, Helsinki Music Centre, Finland. DSD
Text & English translation included
ONDINE ODE1338-5 SACD [72:28]
Kullervo was long neglected. After its early performances it lay forgotten until Jussi Jalas revived it in 1958. It had to wait until 1970 to receive a recording (review) and even that early Paavo Berglund/Bournemouth Symphony recording didn’t immediately open the floodgates. In recent years, however, I’ve noted more performances, and more recordings too. Indeed, it’s only a matter of months since I reviewed an estimable version conducted by Thomas Dausgaard. Two years before that Osmo Vänskä gave us his second recording (review).
I was drawn to this new recording from Hannu Lintu because he and the Finnish Radio Symphony Orchestra have form when it comes to Sibelius. I was very impressed by their DVD cycle of the numbered symphonies (review) and I also liked very much a mixed programme on CD which included Tapiola and En Saga (review). They’ve also recorded the Lemminkäinen Legends; I’ve not heard that disc but I see it was much admired by my colleague, Leslie Wright (review).
Happily, I can report that their account of Kullervo fully matches the standards they’ve set in those previous recordings. Though that verdict is founded upon the excellence of the performance and the interpretation, a significant factor also is the quality of Ondine’s recorded sound. The sonic quality is swiftly apparent. In the first movement, Lintu gets the piece off to a strong, mobile start; the interpretation has plenty of thrust. The merits of the performance are readily apparent thanks to the work of the engineers. The recording is very truthful and detailed and there’s a very good sense of the ambience of the hall. Overall, I’d say that this is a recording with presence. As the first movement unfolds, Lintu brings plenty of drama to the proceedings; it’s a very convincing account of the opening.
The second movement is entitled ‘Kullervo’s Youth’. The more I’ve thought about it, the more convinced I am that the broad initial tempo adopted by Osmo Vänskä on both his recordings is too sluggish. Lintu doesn’t fall into this trap and his approach is broadly similar to that of Dausgaard. Initially, he’s patient but when Sibelius picks up the tempo (4:43) Lintu responds; he and his orchestra invest the pages that follow (to 6:08) with plenty of vitality. This movement is, frankly, rather episodic in nature but I feel that Lintu holds it together well, aided by top-notch playing from the FRSO. I especially admire the atmospheric way in which he handles the last couple of minutes as the movement draws to a hushed close.
The third movement, ‘Kullervo and his sister’ relates the story of Kullervo’s unwitting seduction of his own sister. This is a long movement – 23:01 in this performance. Actually, Lintu is not as spacious as some. Vänskä takes well over 25 minutes in both of his recordings and in his second recording Paavo Berglund took fractionally over 25 minutes. Initially, as the music depicts Kullervo on his homeward journey after paying taxes, Lintu’s approach is very fleet and he really conveys an impression of eagerness; our hero is keen to get home. The story is narrated by a male-voice choir which, for the most part, sings in unison at the octave. This unison singing is surprisingly effective and one benefit is that on the few occasions that Sibelius puts the choir into parts the harmony really stands out and adds emphasis. Lintu has a combined choir consisting of a Finnish ensemble, The Polytech Choir (founded as long ago as 1900) and the Estonian National Male Choir. The singers make a superb sound; the singing is virile and full of body. They’re crisp and alert too, and the words are clearly declaimed. Incidentally, The Polytech Choir sang this work at the BBC Proms back in 2015. They were involved in a very fine performance conducted by Sakari Oramo which was subsequently issued on CD with the BBC Music Magazine (Vol 25, No 12); it’s worth getting hold of a back copy of the magazine to hear the performance which Rob Barnett reviewed enthusiastically for Seen and Heard. The engineers have balanced the choir against the orchestra in expert fashion.
In this movement, the roles of Kullervo and his sister are taken by the two soloists. Ville Rusanen is a fine Kullervo. He sings very well and his performance peaks at the end of the movement when Kullervo realises what he has done (21:01). Here, Ville Rusanen conveys the anguish very well indeed. Opposite him is another Finnish singer, the soprano Johanna Rusanen. Coincidentally, she also sang the role for Oramo in the aforementioned Proms performance. She’s seriously impressive. When Kullervo entices her into the sled she spits out her anger but her best singing is reserved for the lengthy passage (14:01 – 20:49) in which she holds centre-stage. In this emotionally charged solo she relates the unhappy tale of her upbringing with great expression, the vocal line underpinned by orchestral detail which is finely brought out here by Lintu and the engineers working in lockstep. In the last pages of her narration (from 18:47) she brings tragic intensity to her singing. No wonder Kullervo is wracked with guilt. This movement is quasi-operatic and Hannu Lintu leads a powerful and dramatic rendition of it.
The fourth movement, ‘Kullervo Goes to War’ is, I think, the weakest part of the work, though it’s brilliantly scored. Lintu’s approach is colourful and dashing and, despite the weakness of the music, the performance has panache. The final movement, ‘Kullervo’s Death’ brings the tragic denouement. From a black, icy start Lintu builds powerful suspense. Hereabouts his choir is terrific, singing with fine control of dynamics. There’s a palpable sense of tragic apprehension as Lintu builds the movement incrementally, screwing up the tension. Kullervo addresses his sword, the weapon he proposes to use for his suicide and when the weapon replies (5:40 – 7:16) the performance has great intensity. The description of Kullervo’s suicide (from 7:28) is powerfully projected. This is followed by an imposing orchestral funeral elegy (from 8:44) which is suitably grave and dark here. The very end of the work is tragi-heroic.
This is a most impressive account of Kullervo. The work is not of comparable stature to the numbered symphonies or the finest of the tone poems – Sibelius was still moving towards mastery. But Kullervo shows that mastery was within his grasp. There’s a great deal to admire in the work and its cause is helped enormously when it receives a performance that’s as committed and expertly executed as this one. Yet again, Hannu Lintu confirms his Sibelian credentials.
Ondine have given this performance a superb SACD recording which gives you all the impact you could desire and also conveys the nuances of the music-making. The documentation, in English and Finnish, is very good indeed. There are several fine recordings of Kullervo from which the collector can choose: this one is a very serious contender.
John Quinn
