Tchaikovsky, S and Sibelius at the Berwald Hall

Shakespeare's late play "the tempest" is, among other things, about to retire. In the end announces the magician Prospero, as many Shakespearevetare have seen as an alter ego for the playwright himself, he's going to end up with his magic art.
Tchaikovsky was, for its part, rather at the beginning of his career as enchanting artist when he interpreted this piece with its elegant powerful orchestral piece "the storm".
Shakespeare's late play "the tempest" is, among other things, about to retire. In the end announces the magician Prospero, as many Shakespearevetare have seen as an alter ego for the playwright himself, he's going to end up with his magic art.
Tchaikovsky was, for its part, rather at the beginning of his career as enchanting artist when he interpreted this piece with its elegant powerful orchestral piece "the storm".

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So too is the love between the young couple Miranda and Ferdinand central of Tchaikovsky – the love theme is to some extent romantic gloom but at the same time, it is cute, there is something innocent about this beautiful melody.
A very different and more adult love is heard in Marie Samuelsson's ' Aphrodite – fragments of Sappho. Kärlekstrilogi – No. 1 "who tonight gets its world premiere. Sappho wrote as accurate and hard-hitting if break wearing yearning to her voice cut straight through 2 600 years. Samuelsson has selected a handful of Sapfos diktfragment and the scores of them for mezzo-soprano and Orchestra.
It's more about sounds and atmosphere than melodic and harmonic forward movement – congenially, because the poems depicting the condition, not stories. Katija Dragojevic lyrics, in blood-red evening dress, sings suspended if the consuming love, while the Orchestra maler up fascinating acoustic ambient.

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Just as with Wagner's "Tristan and Isolde"-for games, it is the unfinished, never satisfied lust that creates an intense erotic atmosphere. It's not a sensual encounter between a loving couple who is heard, but a lonely heart's restless pounding. A strong work in a very dignified performance.
After this exhausting passion, it is a relief to hear the Sibelius Fifth Symphony. Something in art as unusual as a ickebanal portrayal of happiness. The stately main melodies in the first and last movement spread out their wings as magnificent swans. The storm that creeps in here and there to create tension and drama are the nicest, least threatening battle. Just sit back and enjoy, and take up the dances that Sibelius Waltz tempos offers up to.
The Symphony ends, however, as abruptly as the hip hop concerts where the sound of gunshot rounds each song. As a way to say: "no, do you hear, here we can not sit and gotta us all evening."
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