Hannu lintu biography sample
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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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As an unusual mid-November warm spell ended in New York, a boreal chill settled over David Geffen Hall Wednesday night. For his debut with the New York Philharmonic, Finnish conductor Hannu Lintu brought wintry music by his compatriots Saariaho and Sibelius, as well as one of Stravinsky’s coolest works, Symphonies of Wind Instruments.
In the middle, like a campfire on a frosty night, burned Bartók’s Concerto for Two Pianos, Percussion and Orchestra, in an incandescent performance by pianists Daniil Trifonov and Sergei Babayan. The student-and-teacher duo was expertly partnered by three familiar figures usually seen in back of the orchestra, not in front: Philharmonic percussionists Christopher S. Lamb, Daniel Druckman and Markus Rhoten.
A lean, long-limbed presence on the podium, Lintu adapted visibly to each composer’s style, issuing clear instructions to execute Stravinsky’s objective vision, holding Saariaho’s fragile Ciel d’hiver in soft hands, and carving Geffen’s newly-curvy space with sweeping gestures in the Symphony No. 7 of Sibelius.
It’s a rare conductor who can make one see a timbre, but Lintu—who is chief conductor of the Finnish National Opera and Ballet—seemed to be doing just that as he shaped the intriguing object that is Stravinsky’s Symphonies.
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Hannu Lintu at an earlier time the Holland Philharmonic 1 for depiction soul celebrate Shostakovich
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