Adelaide Symphony Orchestra. Adelaide Town Hall. 4 Jul 2026

 

The title of this magnificent ASO concert, Swansong, refers to the first work on the program, Jean Sibelius’s The Swan of Tuonela, the second movement of his Lemminkäinen Suite, Op.22. The concert concluded with Tchaikovsky’s Pathétique symphony, his No.6 in B minor, Op.74, whose final movement, the Finale (Adagio lamentoso – Andante) established an appropriately sombre bookend to the concert.

 

Sibelius’s Lemminkäinen Suite is based on the story of Lemminkäinen, a heroic character in the Kalevala, the compilation of epic Finnish and Karelian poetry that became a symbol of Finnish identity and nationalism in the late nineteenth century, when Finland was under oppressive Russian rule. The swan guides the souls of the dead along a river to the shore of Tuonela, the realm of the dead in Finnish mythology, and the mood of the music suggests the peacefulness of death.

 

Tchaikovsky composed his Pathétique in 1893 and conducted the first performance in that year. He died nine days later, and while his death was attributed to cholera, there were suggestions he committed suicide. The profoundly sad final movement of his Pathétique could be interpreted as a reflection of his state of mind, or as a farewell, given that it follows the exuberantly triumphant third movement of the symphony, which might be seen as a celebration of his life.

 

Sibelius initially composed the Lemminkäinen Suite around 1893 – 1895 (he subsequently revised it), contemporaneously with Tchaikovsky’s composition of the Pathétique. Sibelius’s music asserts Finnish identity, while Tchaikovsky asserts himself, his successes and his personal tragedy, both composers challenging aspects of Russian culture in their individual ways.

 

Sibelius’s slow, gentle The Swan of Tuonela is a most exquisite tone poem, and it’s a showcase for the cor anglais, or English horn, the most substantial work for that instrument in the repertoire. The cor anglais represents the singing voice of the swan as it swims along the river, and ASO principal Peter Duggan gave a most sublime performance of this hypnotic work.

 

The second piece on the program was Mozart’s Concerto for Flute and Harp in C, K. 299, a work commissioned by the amateur flautist the Comte de Guines for himself and his harpist daughter. Criticised for being a lightweight work, this unusual pairing of solo instruments, combined with a salon orchestra of around thirty players, is a sparkling delight. ASO principal flautist Kim Falconer and principal harpist Jessica Fotinos dressed for the occasion in glorious outfits that literally sparkled, creating the kind of fairytale atmosphere that might have enchanted the Comte’s family and associates.

 

Mozart reputedly hated writing for the flute, but it’s a fine piece that creates a delightful interplay between the soloists and the orchestra. Under guest conductor Andrey Boreyko, the ASO’s performance was beautifully paced and balanced across the instruments, and Falconer and Fotinos were superb, clearly enjoying themselves immensely. The two soloists then gave an encore to demonstrate again their close rapport and exceptional msicianship.

 

The final work was Tchaikovsky’s magisterial Pathétique, one of the greatest and most profound symphonies in the repertoire, starkly contrasting the joyous Mozart concerto that preceded it—Tchaikovsky takes the listener on a journey through a range of emotional states, perhaps betraying his own inner turmoil. Boreyko’s interpretation was insightful and his leadership was clear and convincing.

 

As well as featuring the excellent Peter Duggan, Kim Falconer and Jessica Fotinos, this concert also demonstrated the abilities of other ASO principals, especially bassoonist Mark Gaydon and timpanist Andrew Penrose in the Tchaikovsky. The bassoon features at significant moments in the Pathétique and while it does not parallel the cor anglais in Sibelius’s Swan, it does at times suggest the voice of the composer. Tchaikovsky’s use of percussion is also crucial in the unfolding drama.

 

The performance of the Swan is a taste of what’s to come, as the ASO will perform all seven of Sibelius’s symphonies over three concerts in September. It’s to be hoped that the ASO will perform the entire Lemminkäinen Suite one day.

 

Chris Reid

 

When: 4 July

Where: Adelaide Town Hall

Bookings: Closed