Sallinen’s The Red Line at Finnish National Opera, 2008

Wozzeck is widely admired, but the typical American opera company
will program La Boheme every few seasons, and maybe once a decade
stage Berg’s masterpiece.

Aulis Sallinen’s The Red Line prompts much admiration as well.
Premiered in 1978, the work combines both serious subject matter and a score
that expertly walks that fine line between hard-core modernism and more
“accessible” material. It’s easy to see why the Finnish National Opera
would stage a major revival in 2008 — not least because the source material
(a novel of the same name by Ilmari Kanto) centers on a major episode from
Finnish national history.

Topi is a peasant, in all senses of the word — a man at the lower
socio-economic end, striving to provide for his family, with a fierce will but
earthy weaknesses. He and his wife Rikka have three children, and in tough
economic times, they are finding it hard to keep them properly fed. Soon word
comes that the vote is coming, and not only for men — but also for women.
Political agitators tout this development as the key to improving living
conditions for men like Topi and their families. The vote is to be cast by
marking a “red line” on a ballot. But Topi can’t wait for a vote — one
child is ailing. He goes to the Church for help, but any assistance is too
little, too late, and the child dies. At opera’s end, the side supposedly
representing Topi’s interests has indeed won a major election, but it matters
little to Topi. A bear that had threatened his livelihood at the beginning of
the opera reappears, and Topi rashly rushes to chase it off — only to end up
its victim, a “red line” drawn across his throat. And his widow is left to
care for the remaining children.

The libretto manages to be a social and political tract without feeling
heavy-handed, at least as staged by director Pekka Milonoff. Eeva Ij‰s’s
simple, effective sets and the naturalistic costumes of Erika Turunen provide a
sense of time and place, and an expert cast performs with affecting simplicity
and commitment. A hard-core Marxist would be displeased that Topi is not
elevated to heroic stature, and a hard-core reactionary would bemoan the
critical depictions of the Church and the established ruling class. Sympathy is
aroused for its forlorn protagonist, but we can also see where his own choices
have contributed to his predicament.

Despite many powerful moments, the narrative doesn’t build, and the bear
sections are too crudely symbolic. Although not a long opera, the first act
drags, and a more compact structure might have had greater impact.

Sallinen’s score has many remarkable passages, weaving folk material,
marches, and arias into a complex fabric. Conductor Mikko Franck and the
Finnish National Opera Orchestra keep the tension high, but the handsome hall
must have fine acoustics, as the singers are never swamped.

Sallinen couldn’t hope for a better Topi than that of Jorma Hyannin —
the hang-dog expression on his handsome face capturing a lifetime of
deprivation and struggle, but the fire in his eyes is unquenched (until the
end). P‰iva Nisula is his wife, larger than one might expect in a story about
poverty, but that actually corresponds to reality, in many cases. She is
just this side of caricature — hearty and strong, loving of her husband but prone to nagging. In a large supporting cast, Aki Alamikkotervo’s Agitator stands out for capturing the tunnel-visioned fervor of a politically driven man.

Ondine provides four separate filmed interviews as bonus features — with
the composer, director, conductor, and star. Technically austere, the
interviews don’t cover much interesting territory, with the exception of that
with composer Sallinen. He is mordant and perceptive, and your reviewer will
probably never forget one choice phrase of his, a reference to “man’s
bottomless narcissism.”

The Red Line, some three decades on, does not look poised to join
the standard opera repertory, but Sallinen is most fortunate to have this
document for posterity, a recording of a fine performance of his admirable —
if not exactly loveable — opera.

Chris Mullins

image_description=Ondine ODV4008
product_title=Aulis Sallinen: The Red Line
product_by=Topi: Jorma Hynninen; Riika: P‰ivi Nisula; Sake: Tuomo Nisula; Raakeli: Sanni Vilmi; Iita-Linta Maria: Olivia Ainali; Puntarp‰‰: Aki Alamikkotervo; Simana Arhippaini: Hannu Forsberg; Vicar: Pertti M‰kel‰; Young Priest: Tuomas Tuloisela; Kaisa: Anna-Lisa Jakobsson; Raappana: Taisto Reimaluoto; Kunilla: Rea Mauranen; Epra: Ari Grˆnthal; Jussi: Marko Puustinen; Tiina: Leena Liimatainen; Constable Pirhonen: Kai Valtonen; Fate: Jarmo Rastas. Tsuumi Dance Company. Finnish National Opera Chorus and Orchestra. Mikko Franck, conductor. Pekka Milonoff, stage director. Eeva Ij‰s, set design. Erika Turunen, costume design. Juha Westman, lighting design. Ari Numminen, choreographer. Recorded live from the Finnish National Opera, 2009.
product_id=Ondine ODV4008 [DVD]