Hannu lintu biography channel
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Pelléas et Mélisande is an opera that inspires automatic if not always well-founded ideas: it’s (seemingly) impenetrable; it’s the French Tristan und Isolde; it’s romantic; it’s intense; it’s ultimately very tragic. It is also, in the words of conductor Hannu Lintu, something people may find “baffling.”
Yet Lintu, who is currently leading a new production of the opera with Bayerische Staatsoper in Munich, has found a unique clarity in Debussy’s 1902 opera, itself based on Maurice Maeterlinck’s 1893 symbolist play of the same name about a tragic love triangle of two half-brothers who love the same woman. Dutch director Jetske Mijnssen’s new staging premiered earlier this month as part of the annual Münchner Opernfestspiele, a co-production with The Dallas Opera running through 22 July featuring Ben Bliss and Sabine Devieilhe as the doomed titular lovers, along with Christian Gerhaher as the jealous Golaud, Sophie Koch as Geneviève, and Franz-Josef Selig as Arkel. Lintu, who is also Chief Conductor of Finnish National Opera, emphasizes the work’s episodic structure and uses its orchestral interludes not merely as time-filling transitions but as both commentary and complementary characters on and within the un
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Conductor Hannu Lintu is rightfully earning a reputation for creative programs and compelling performances in his local podium stands. From Sibelius’s Kullervo with the Grant Park Orchestra in 2011, to his CSO debut in 2020, and through his most recent downtown outing last February, the chief conductor of the Finnish National Opera and Ballet has consistently delivered thoughtful, spirited readings of both unexpected and familiar repertoire.
This trend continued as Lintu returned to Orchestra Hall Thursday night, leading lesser-known 20th-century works, including a standout soloist’s debut, alongside Tchaikovsky’s Swan Lake.
Thursday’s concert opened with John Adams’ Slominsky’s Earbox, a 15-minute piece inspired by the Russian musicologist Nicholas Slominsky, best known for his 1947 Lexicon of Musical Invective, which collects centuries of vitriol spewed by public and critics alike at works of new music. (Think of Eduard Hanslick who referred to Tchaikovsky’s Violin Concerto as music “whose stink you can hear.”)
There is an irony to a negative assessment of a score inspired by Slominsky’s “hyperenergetic activity,” but Adams’ 1995 opus felt tiresome. An initial outburst is sustained in manic modal flurries that unrelentingly whir
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Finnish conductor Hannu Lintu assertive his preventable, Russian musicians and drama in Russia
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Hannu Lintu. Exposure credit Kaapo Kamu
Excerpts evade his biography:
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