There are few composers who have had quite the influence on their fellow compatriots as Sibelius has had on his. Whether it is the effect of the music itself, or the architecture of the landscape which drew such breathtaking scale into Sibelius’s music, his compositions continue to have a widespread influence in Finnish music. Composed more than 130 years apart, Sibelius’s Kullervo and Lotta Wennäkoski’s Zelo, given its world premiere at this concert, are inescapably linked by both their history and musical language. What differs, of course, is a century and more of composition beyond Sibelius which gives Wennäkoski a quite distinctive voice of her own.
Both Kullervo and Zelo have five movements and each of Zelo’s movements correspond to those of Sibelius’s work. ‘Introduction’ traces Kullervo’s main theme, whilst ‘Cradling’ – more inward looking and introspective – is like a berceuse and builds on the second movement of Kullervo, ‘Kullervo’s Youth’. The most dramatic of the Sibelius movements – the third – follows suit: here we get a sleigh ride (in dactylic rhythm) and the frenetic writing is often thrilling. A lamentoso comprises the fourth movement (even though Sibelius describes this as ‘Kullervo at War’) and Wennäkoski returns to the frenetic pace in the final, though uplifting concluding movement, ‘Epilogue’. Her music is not without energy, drive or force – nor is it without an element of poetry either. There is a skilful use of brass and percussion (including a piano) and solos for flute and violin are beautifully effective where these would be taken by the bass and soprano in Kullervo itself. Robin Ticciati drew full-throated and impressively tight playing from the London Philharmonic Orchestra.
Kullervo, written in 1892, is a colossal work – and the kind of piece to which he never returned. Surely a quasi-Brucknerian (the influence of the third symphony) and Beethovenian work (the Choral) Kullervo scales the kind of heights which Gurrelieder does, although it is more symphonic than that work. Based on the Finnish text the Kalevala it tells the tale of the anti-hero Kullervo, a youth who is unable to distinguish between right and wrong and who unknowingly seduces his sister before indulging in a rampage of ultra violence and eventually commits suicide. Sibelius’s music certainly leaves nothing to the imagination – the opening itself is as dark, malevolent and broodingly intense as one might wish for, heavy with the symbolism which is to be laden throughout the entire work. There is some magnificent writing for the strings (especially the cellos) where long streaks of hard chords give the music an instantly recognisable nationalistic stance: it is hugely impressive and leaves a lasting impression as these tunes sear themselves in the mind.
The aggression that lurks within ‘Kullervo’s Youth’ was thrillingly done for sure (the YL Male Voice Chorus luxury casting), but it was with ‘Kullervo and his Sister’ and the singing of the two soloists – the soprano Miina-Liisa Värelä and Shenyang – that the performance took on a truly thrilling edge. Neither part is easy – the bass role, in particular, lying somewhat high – but Shenyang was glorious, ringing of tone and often utterly clear in his complex diction. He has magnetic stage presence and there was an undeniable malevolence to his singing which brought much characterisation to Kullervo which is easy to gloss over. Värelä was solid, silky and rich of tone.
Best of all, perhaps, were the Finnish YL Male Voice Chorus in ‘Kullervo’s Death’ who gave a simply chilling account of the anti-hero’s suicide. It was perniciously done, gut-wrenching with such pristine Finnish that one welcomed the chance to hear it done this way. The playing of the LPO was beyond exemplary, and Ticciati conducted with fluidity throughout. An outstanding account of this wonderful score.
Marc Bridle
Voices from Finland
Lotte Wennäkoski – Zelo; Jean Sibelius – Kullervo
Miina-Liisa Värelä (soprano); Shenyang (bass-baritone); YL Male Voice Choir; London Philharmonic Orchestra; Robin Ticciati, conductor
Royal Festival Hall, London, 25 March 2026
All photos © Harrisson Parrot
Top image: Robin Ticciati (Photo © Benjamin Ealavoga)