In Sweden, we know the JoAnn Falletta from the documentary ”the Conductors”, where she worked with stravinsky’s ”rite of spring”. It is more than thirty years ago, filmmaker Christina Olofsson, depicting six female pioneers in a compact mansbransch, which is only now in recent years started to raze the könsmurarna. Meanwhile, JoAnn Falletta from the united states established itself among orchestras around the world and recorded hundreds of albums, most on the morning of Naxos.
up a Grammy in Los Angeles, and on Saturday she was guest-conducted in front of the Norrlandsoperan symphony orchestra in stockholm visit. On the menu of a swanky and Swedish program with Andrea Tarrodis ”Giraffe” and Wilhelm Stenhammar’s ambitious second symphony.
the opera choir gives their in Umeå is now a well-honed and small international institution, with the lead violin Alexander Kagan at the forefront, the son of the Russian musical artist Oleg Kagan and Natalia Gutman, who once formed the trio with the Style Richter. Here was Kagan j:r as radiant soloist in the William Waltons languorous violin concerto, a british paradverk in the genre with fitting the spicy inspiration of Prokofiev.
Among Andrea Tarrodis many decorative orkestertablåer lit the dreamy ”Giraffe” from 2010 with particular sagoskimmer. I have heard it with a richer color palette than this, perhaps because of the limited acoustics as a Musical can accommodate a full symphony orchestra.
hundred-year-old g-mollsymfoni felt the cottage was perfect – on the other hand, it was not the bigger halls that were available at the time. Classical music has become more muscular over the years.
In any case, with JoAnn Fallettas healthy enthusiastic grip on Stenhammar’s archaizing, deliberately nordic aesthetics. Skogsromantiken could sometimes be timbre compact, but träblåsens’s call got through. This splendid dubbelfuga, oh so good, turned Falletta to a liberating playful game.
Read more of Camilla Lundberg’s reviews here .
