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Although he withdraw it a year after its successful premiere, Sibelius's early Kullervo symphony is laced with the atmosphere and creativeness that would characterise his later works, coupled with a tragic tale from Finnish folklore.
Kullervo recounts the story of its eponymous hero. After alonely childhood, Kullervo grows up to become a determined warrior. He seduces a girl only to discover she is his long-lost sister and in remorse throws himself on his sword. Despitethe tragedy, the work evokes the beauty of the Finnish countryside is an orchestral tour-de-force, offering stunning cameos for its soloists and chorus.
CD REVIEWS
'simply thrilling, a performance that goes straight to the top of recommended recordings. The men of the LSO Chorus are outstanding, as are the two soloists, Peter Mattei and Monica Groop. In short, this is a great performance by any standard, and it's also extremely well recorded ... As for the work itself, each hearing only makes Sibelius' ban on performances during his lifetime ever more incomprehensible. When treated with such compelling force and urgency, it's impossible to deny Kullervo its rightful place as a major, even great piece. Fantastic!'
Artistic Quality 10, Sound Quality 10
ClassicsToday.com (US), 3 January 2006
CONCERT REVIEWS:
'a blistering performance ... Groop was heart-rending inher description of her abandonment as a child, and Sibelius's orchestration was fabulously imaginative, with apassage of shimmering woodwind trills depicting the sounds of the forest. Mattei's horrified response was equally powerful, accompanied by shattering dissonances in the orchestra '
The Guardian (UK), 20 September 2005
'the music courses through Sir Colin Davis's veins as does any other Sibelius ... the men of the London Symphony Chorus commented Greek style on the unfolding action with impressive resonant sound and purposeful attack, while the excellent baritone and mezzo soloists, PeterMattei and Monica Groop, sang the roles of Kullervo and the sister whom he unknowingly seduces at full operatic throttle. Davis powered this music onward demonically to the inevitable realisation of the horrific truth and the orchestra responded magnificently. Great music making'
Evening Standard (UK), 19 September 2005 |
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