Composer: Jean Sibelius (1865-1957)
Works: The Maiden in the Tower (1896), Pelléas et Mélisande (1905), Valse Triste (1903)
Performers: Solveig Kringelborn (sop), Lilli Paaskivi (mezzo), Lars-Erik Jonsson (ten), Garry Magee (bar), Ellerhein Girls’ Choir, Estonian National Male Choir, Estonian National Symphony Orchestra/Paavo Järvi
Recording: 23-26 March 2001, Estonia Concert Hall, Tallinn
Label: Virgin Classics 7243 5 45493 2 8
Jean Sibelius’s foray into opera, “The Maiden in the Tower,” remains a tantalizing curiosity within his oeuvre, reflecting both the composer’s nationalistic fervor and his penchant for lyrical storytelling. Premiered in 1896, the opera, set in eight scenes, intertwines the themes of love and societal oppression, encapsulated within a narrative that is both poignant and rich in character. Paavo Järvi’s recent recording brings this lesser-known gem back into the spotlight, offering a fresh interpretation that stands out in the sparse discography of Sibelius’s operatic works.
The performance is marked by an impressive orchestral palette, with Järvi drawing out the nuanced textures of Sibelius’s orchestration. The Estonian National Symphony Orchestra demonstrates a remarkable command of the score, infusing each scene with a sense of drama and emotional weight. The opening overture, a mere prelude, sets a sonorous stage that foreshadows the unfolding narrative, while the orchestral interludes serve as effective bridges between scenes, allowing the audience to absorb the underlying tension. The strings, in particular, exhibit a vibrant attack, especially in the poignant duet and trio of Scene 5, where the interplay between voices and instruments achieves a delicate balance that is both lyrical and expressive.
Kringelborn and Jonsson, as the star-crossed lovers, embody their roles with an authenticity that resonates deeply. Their vocal chemistry is palpable, highlighted in the tender moments of their duet, where the intertwining melodies evoke a sense of yearning. Garry Magee’s portrayal of the malign bailiff adds a necessary layer of conflict; his robust baritone effectively conveys the character’s menace without descending into caricature. Lilli Paaskivi’s Chatelaine, as the arbiter of fate, offers a compelling contrast, her mezzo-soprano voice cutting through the orchestral tapestry with clarity and strength.
The sound quality of this recording deserves special mention. Captured in the Estonia Concert Hall, the engineering achieves a remarkable sense of space and clarity, allowing the listener to appreciate the richness of the orchestral textures alongside the vocal lines. The close-miking provides intimacy without compromising the concert-hall resonance, creating an immersive listening experience. Notably, the recording’s attentiveness to dynamics enhances the dramatic arcs, particularly in the climactic moments where the choral forces of the Ellerhein Girls’ Choir and the Estonian National Male Choir swell to powerful effect.
When compared to Neeme Järvi’s earlier recording, this interpretation feels more cohesive and vibrant, effectively utilizing the strengths of the Estonian musicians. The emotional depth found in Järvi’s reading surpasses the somewhat more restrained approach of his father, allowing the opera’s dramatic potential to unfold with a vigorous urgency that makes engaging listening. The inclusion of “Pelléas et Mélisande” excerpts and “Valse Triste” provides a satisfying complement, although the latter, while beautifully played, suffers from a certain lack of vitality compared to the operatic centerpiece.
This recording of “The Maiden in the Tower” emerges not only as a significant addition to Sibelius’s discography but also as a compelling introduction to an opera that deserves greater recognition. Järvi’s direction, coupled with the outstanding performances from an ensemble clearly invested in the material, reveals the opera’s hidden charms and emotional depths. For those curious about Sibelius’s operatic endeavors, this recording is a clear choice, offering insights into a composer whose vocal writing, while less frequently explored, is rich with potential and poignancy.
