SIBELIUS & PROKOFIEV CONCERTOS

Jeanine Jansen’s new album featuring Sibelius’ Violin Concerto and Prokofiev’s Violin Concerto No. 1, with Klaus Mäkelä conducting the Oslo Philharmonic, marks a significant return to the concerto repertoire after nearly a decade. The synergy between Jansen and Mäkelä, coupled with the nuanced performance of the Oslo Philharmonic, creates an album that resonates with both technical brilliance and emotional depth. 

The Sibelius concerto opens with an ethereal whisper from the Oslo strings, setting the stage for Jansen’s delicate yet poignant entrance. Her playing quickly intensifies, inspiring the orchestra to deliver a lush and resonant statement of the main theme. Jansen’s mastery is particularly evident in the “veloce” section, where her technical skills and passionate interpretation merge flawlessly. 

The cadenza is executed with remarkable precision, while the woodwinds’ Nordic timbre adds a distinct flavor to the first movement. The second movement begins with a hauntingly ambiguous atmosphere established by the clarinets and oboes, which Jansen then transforms with her lyrical and ardent solo line. The dialogue between the soloist and orchestra throughout this movement is intimate and profoundly moving. 

The Adagio exudes an elegant and introspective mood that is deeply affecting. Although the Oslo Philharmonic may lack the robust sound of more renowned orchestras, their attentive and responsive playing more than compensates, especially in their support of Jansen’s nuanced performance. The final movement, often likened to a polonaise for polar bears, is performed with grace and vigor, highlighting the intricate rhythmic interplay and the dynamic contrasts between fiery intensity and icy precision. Jansen’s technical prowess and the orchestra’s spirited playing culminate in a powerful and exhilarating conclusion. 

Turning to Prokofiev’s first violin concerto, Jansen’s interpretation surpasses other notable recordings, such as Hilary Hahn’s technically impeccable but emotionally reserved rendition, and Tianwa Yang’s more passionate performance. Jansen’s ability to navigate the concerto’s shifting moods and dynamic contrasts is consistently impressive, with Mäkelä and the Oslo Philharmonic providing exceptional support. The first movement, with its array of ideas and moods, is captured with vivid clarity, emphasizing the dreamy, fairy-tale quality that connects it to Prokofiev’s Cinderella ballet. 

The “Scherzo” movement, however, falls short of its full potential. The marching passages lack the necessary menace and drive, and while Jansen captures the music’s frenzied desperation, Mäkelä’s focus on balance and subtle coloring seems misaligned with the movement’s inherent brashness. Nonetheless, Prokofiev’s biting wit shines through in other sections. 

The final movement restores the album’s earlier excellence, returning to the fairy-tale ambiance of the opening movement. Here, the violin often takes on a secondary role, engaging in a conversational interplay with the orchestra rather than dominating it. This suits Jansen’s interpretative style, which emphasizes collaboration and mutual expression. The harmonic shift into the coda is executed with a magical touch, ending the performance on a serene and dreamlike note. 

Andrew Mellor’s liner notes are informative and engaging, complemented by session photographs that add a personal dimension to the album. Fans of Jansen will find her playing as captivating and technically impeccable as ever. While Decca’s claim of this being the ‘ultimate classical dream team’ might be an overstatement, this recording undoubtedly showcases a highly impressive collaboration, leaving listeners eager for future projects from this remarkable partnership.