Jarkko Lauri
In his orchestral suites from the Tempest Sibelius rather curiously flattened many of the brilliant pieces of the much richer original score heard today. Maybe he processed and compressed it too much according to symphonical thinking. The original score really shows an amazing scale of colours and styles from expressionism and nearly Prokofjevian motorism to neo-classical sophistication.The soloists were not at same level of spirit I heard at the Sibelius festival in Lahti some years ago. Especially Lilli Paasikivi's voice was forced. Helena Juntunen's pure, effortless voice fits splendidly to the crystal clear tihinking of Sibelius, something remanding the soprano Soile Isokoski but being a bit more lyrical. In Sibelius' symphonies Vänskä has lately stressed the high-minded qualities and sluggish tempis at the expense of vital and youtfully inspiration and dynamics evident in the early symphonies. Yet his approach is perfect in the godly breathing calm of the Seventh Symphony.

James Dixon
A glorious programme, beautifully performed. What a treasure trove of neglected gems 'The Tempest' is. This play was made for Sibelius: the elves and magic spirits who inhabit the darker recesses of his symphonies can really run riot here. We are of course familiar with his ability to find a strangely poetic richness in the simplest materials, but to hear him do so again and again in miniature after enchanting miniature was a pure joy. Let's have the suites back on a regular basis. The vocal items however did not convince me he is a natural composer for the voice. His music speaks so strongly of empty landscapes, of nature, that to put a figure in the picture rather spoils the atmosphere. Sadly this impression was confirmed by the songs in the second half, despite ravishing singing from both soloists. Was this perhaps the composer's motivation in trying to withdraw these arrangements? His orchestral palette is so pure, it does not take human footprints well. After this it was a relief to return to the deserted vistas of his symphonic world with the Seventh. Here the composer's inspiration is at its zenith. Here is total mastery, majestic command, complete organic unity. Despite the famous conversation between Sibelius and Mahler, it was the former who truly put a whole world into a symphony. One felt one was hearing the processes of life itself, and the music penetrates to the the core of the universe deeper than Mahler ever did. No wonder it was virtually the last thing Sibelius wrote. after this. After this there was nothing left to say.

Dave Pannell
A thoroughly absorbing Prom. The Tempest was an impressive mix of orchestra and voices conveying images of impending storms and quieter interludes. Helena Juntunen and Lilli Paasikivi excelled with the Songs with orchestra showing a blend of grace and power. Symphony No. 7 was a suitable climax showing the composer's mastery of this form.

Chew XB95
Some ravishing playing by the Lahti Orchestra and some wonderfully well-paced and musical conducting from Vanska. Although there were some occasional lapses in ensemble from the orchestra, and some flat and unblending tenor singing from the choir at the beginning, once things got going, Sibelius' Tempest prove to be an inspired piece of programming and the performance took off in a riot of colour and drama. Helena Juntunen projected and coloured her songs beautifully, although Lilli Paasakivi's songs (otherwise excellently executed) were marred by some rather flat intonation at the beginning. The final duet, however, was spellbinding. Vanska then paced the Symphony brilliantly, allowing for some wonderfully varied and disctinct colours from the orchestra while driving them inexorably onwards. It was a performance that personified Sibelius' famous image of the symphony being like a river, with various tributaries flowing into it before it rushes into the sea.