was swiftly replaced with a strong feeling for simple, expressive themes, diatonicism and clarity of structure (Elegy for Sebastian Knight, 1964). Like his compatriot Jean Sibelius (1865–1957), Sallinen developed a strong interest in the folk traditions of his country, evident in his use of both folk melodies and texts from the Finnish national epic, Kalevala (Kullervo ...
b. 1935, Finnish Hailing from a country without a strong operatic legacy, Sallinen approaches the craft of composition with true dramatic flair, as well as a genuine understanding of how to create theatre-oriented music in a more traditional tonal language. The first of his six operas, Ratsumies (‘The Horseman’, 1975), was such a huge national success that ...
Mater (Paris Opéra, 2006). Recommended Recording: L’amour de loin, soloists, Deutsches SO, Berlin (cond) Kent Nagano (Harmonia Mundi) Introduction | Contemporary | Classical Personalities | Aulis Sallinen | Contemporary | Classical ...
on the life story of Émilie du Châtelet, the French mathematician, physicist and writer during the Age of Enlightenment. Introduction | Modern Era | Opera Personalities | Aulis Sallinen | Modern Era | Opera ...
that is also a deconstruction of traditional operatic fare. Un Re in Ascolto (‘A King Listens’, 1984) is similarly as much about opera as itself. Europe Today The Finnish composer Sallinen has suffered charges of conservatism, but his operas show a refined understanding of how to use voice and orchestra in an inherently dramatic way. His most recent opera, ...
The most successful librettist of the modern era was W. H. Auden, who provided texts for Britten’s first opera, Paul Bunyan and, in collaboration with Chester Kallman, for operas by Stravinsky (The Rake’s Progress), Henze (Elegy for Young Lovers, 1961; The Bassarids, 1966), and for less acclaimed works by John Gardner (1917–2011) and Nicolas Nabokov ...
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