Sakari Conducts Sibelius & Strauss, CBSO, Symphony Hall, Birmingham, 28 February 2024.

4✩✩✩✩ Review: David Gray & Paul Gray.

Sibelius – The Tempest: Suite No. 1

Strauss – Four Last Songs

Merikanto – Ekho

Sibelius – Symphony No. 7

“A frustrating concert. Without a few gremlins, it could have been quite stunning.”

This concert represented a welcome reunion with the CBSO for its former principle conductor, Sakari Oramo. Although it must be a very different line-up to the one he remembers, a strong understanding and rapport was evident from the outset.

Sibelius’ The Tempest Suite is something of an orchestral tour de force, and Oramo imbued each movement with a distinctive character. Angular, grotesque woodwind and brass textures convincingly conveyed the character of Caliban, while Prospero’s magic was brilliantly invoked by glossy translucent strings. The final highly evocative storm section - rhythmically demanding and requiring total commitment to ensemble from the orchestra - was managed to perfection and brought the suite to a thrilling climax.

Sadly, some problems of balance bedevilled soprano, Anu Komsi’s reading of Strauss’ Four Last Songs. Throughout, Komsi could have taken the whole dynamic up a notch to ride over the rich sensuous playing of the orchestra. Tempi in the opening song were on the brisk side, forcing the singer to rush through much of the detail. The result was an uneven and, at times, rather shrill tone.

Things settled down in the second song, but much delicious pianissimo detail was lost, because the singer was simply too pianissimo. Orchestral leader Eugene Tzinkindelean set the scene beautifully for that soaring vocal melody in the third song. This was Komsi’s finest moment. Quite ravishing.

Her intimate approach paid dividends in the final song, where the audience could not but be drawn into the world of the music. There was some exquisitely balanced blending between the voice and individual instruments in the orchestra. The piccolo flourishes in the closing bars were heartbreakingly poignant.

Balance between soloist and orchestra was not an issue in Aarre Merikanto’s Ekho. In a work that alternates between spikey modernism and more fluid lyricism, Komsi told the story with intelligence and commitment, creating some striking vocal effects. Oramo shaped the narrative in the orchestra with precise attention to detail. This was a complete ensemble performance.

More Sibelius concluded the evening. His Symphony No. 7 is undeniably and odd-fish. Is it really a symphony? Is it really in C major? Who knows. Dark timbres dominate. A moment of sunshine promises to breakthrough in the middle section, but the clouds close again for a brooding conclusion. This performance captured all the moods and all the detail, and one must remember that Sibelius originally called this work a Symphonic Fantasia.

A frustrating concert. The CBSO’s playing was at the top of its impressive game. Ensemble was tight, the tone was luxuriant, and communication between conductor and band could not be flawed. The Strauss was, to be honest, a slight disappointment due the balance issues. Without these gremlins, it could have been quite stunning.

Sakari Oramo – Conductor

Anu Komsi - Soprano