Shostakovich’s Last Symphony, CBSO, Symphony Hall, Birmingham Wednesday 19th November 2025, 4☆☆☆☆. David Gray & Paul Gray.
Shostakovich’s Last Symphony, CBSO, Symphony Hall, Birmingham Wednesday 19th November 2025,
4☆☆☆☆. David Gray & Paul Gray.
Sibelius – Karelia Suite
Sibelius – Five Songs: Autumn Evening
Sibelius – Eight Songs: Baron Magnus
Sibelius – Seven Runeberg Songs: Spring is Flying
Sibelius- The Bard
Sibelius – Luonnotar
Shostakovich – Symphony No. 15
“Characterful and charismatic singing and a fine performance of a perplexing symphony.”
This was a largely excellent concert. However, one felt that the high quality of the less familiar and more demanding bits had perhaps been bought at the price of less rehearsal time for the more well-known.
Thus, a performance of the very well-known Karelia Suite, which kicked off an all-Sibelius first half, lacked a bit of lustre. It seemed a bit out of focus, with something odd about the muted horns during the opening Intermezzo; and a bit of scratchy ‘cello playing towards the start of the Ballade. Things seemed to have settled by the final Alla Marcia movement which romped along gloriously.
Attention had clearly been paid to what followed. Soprano, Helena Juntunen is a force of nature. Possessed of a rich, perfectly controlled voice, with power and projection through her range, she delivered strongly characterised, detailed readings of three of Sibelius’ shorter songs. Her diction was flawless and her physical commitment total. Conductor, Osmo Vänskä drew similarly characterful and well coloured playing from an attentive CBSO.
These songs were followed by The Bard, a disappointingly uninspiring and repetitive orchestral work which, nevertheless, showcased the talents of CBSO harpist, Katherine Thomas. And then came Luonnotar, a tone poem for soprano and orchestra which gave us more time to savour Juntunen’s formidable talents – and her change of frock to a traditional Finnish costume. Luonnotar is a luscious piece of music. The soloist totally inhabited and projected the story. The orchestra did full justice to Sibelius’ delicate and imaginative textural writing.
Shostakovich’s 15th Symphony is not so often performed. It is tantalizingly enigmatic. All the elements you expect from one of his Symphonies are there, just in an odd order. A familiar object seen from an unfamiliar angle. During a playful opening movement, Vänskä threw a spotlight around the players to highlight the many salient details of the extraordinary orchestration and remorseless momentum.
Desolation is never far away in Shostakovich. Vänskä built the second movement with impressive control, from its bleak opening to a ravishing, soaring string climax. This was a real highlight of the evening.
This Symphony often gave the impression of a Concerto for Orchestra. There were numerous opportunities where sectional leaders shone as soloists. Special mention must be given to ‘cellist Eduardo Vassallo, whose solo sections were exquisitely lyrical and detailed.
A thoughtful, brooding, yet compelling reading of the final movement of the symphony, gave a much-augmented percussion section the chance to take centre stage during its dying moments. Vänskä’s interpretation unapologetically embraced how this is a work that seems to raise many questions without giving away many of its answers, and this approach really worked. A quite exceptional performance.
Osmo Vänskä – Conductor
Helena Juntunen - Soprano