With a skillful selection of repertoire and the addition of a metaphorical roof and even a tower as "simply a good conductor," Risto Joost, who started in the position in 2020, has elevated the Vanemuine Symphony Orchestra to an outstanding professional level.
Based on the diverse program heard on the evening of March 16th, one must acknowledge that the Vanemuine Symphony Orchestra under Risto Joost's direction possesses all the qualities of a truly great orchestra.
Concert "Storm Incantation" on March 16th at the Estonia Concert Hall. Heigo Rosin (percussion), Vanemuine Symphony Orchestra, conductor Risto Joost. The program included music by Erkki-Sven Tüür, Einojuhani Rautavaara, and Igor Stravinsky.
When asked for cultural recommendations on the ETV cultural program "Plekktrumm" on March 11th, University of Tartu cell biology professor Toivo Maimets suggested attending classical music concerts, arguing that our orchestras, choirs, performers, and composers are of an exceptionally high standard. He did not single out any particular ensemble, as he couldn't pick just one—the list of talented musicians and musical groups is remarkably long.
Maimets's words vividly came to mind on the evening of March 16th at the Estonia Concert Hall during the Vanemuine Symphony Orchestra's "Storm Incantation" concert, conducted by musical director and principal conductor Risto Joost, with percussion soloist Heigo Rosin, for whom this was also a doctoral concert. Truly, as much or as little as I have had the chance to hear live music recently, I don't recall any failures! Moreover, I am particularly pleased for the Vanemuine Orchestra because it stands as the only professional orchestra in Southern Estonia, proudly upholding the region's musical culture. I must mention the words of my father, Jaan Kiiv, who played the trombone in the Vanemuine Orchestra in the 1970s and sighed after the "Storm Incantation" concert on March 15th at the Vanemuine Concert Hall, "If only we had had such an orchestra back then!"
Yes, times have changed entirely, and thanks to the solid foundation laid by Paul Mägi during his tenure as principal conductor from 2011 to 2020, and the skillful repertoire selection and "simply being a good conductor" by Risto Joost, who started in the same role in 2020, the Vanemuine Symphony Orchestra has reached a remarkable professional level.
When it comes to theater orchestras, the situation is complex because symphony concerts are not their primary job. From my own time working with the Estonia National Opera Symphony Orchestra, I clearly remember that opinions about symphony concerts were divided within the orchestra: there were enthusiasts who welcomed them with joy, but there were also those who saw them as a burdensome added responsibility. In a way, they were right, because the theater schedule was not adjusted for symphony concerts, nor were musicians paid extra for performing in them. So, the lack of enthusiasm among my colleagues for symphony concerts at the time can be fully understood.
If we set aside the purely pragmatic aspect and delve into the artistic value, symphonic repertoire is not just a diversion for a theater orchestra, but an advancement, as it places completely different demands on the orchestra. Typically, a theater orchestra is always a partner to someone, whether it be soloists and choirs on stage or a ballet troupe. Hence, theater orchestras exhibit extreme responsiveness, as they often need to follow or "catch" someone on stage. However, symphonic repertoire offers the orchestra the chance, metaphorically speaking, to climb out of the dark orchestra pit and shine on stage. Occasionally, though, this spotlight might initially blind a theater orchestra instead of letting it shine...
Thankfully, this was not the case with the Vanemuine Orchestra, as they established themselves fully right from the concert's opening piece, which was Erkki-Sven Tüür's (b. 1959) "Storm Incantation." It could have gone differently, though, as Tüür wrote this piece as an encore, which is traditionally performed at the end of a concert, so starting with it was already a risk in itself. That's the first point. Secondly, anyone who has dealt with interpreting Tüür's music knows that it is not easy: clearly articulating the composer's distinctive rhythmic structures and architecture is a challenging task both in terms of sound and technical ensemble playing. The Vanemuine Orchestra handled this very well, and I believe that part of the credit goes to Risto Joost's previous experience in conducting Tüür's music. Although it was years ago, I still vividly remember the opera "Wallenberg," which was performed at Estonia, conducted by Joost (alongside Arvo Volmer) with great inner conviction.
The second and perhaps most anticipated piece of the evening was Einojuhani Rautavaara's (1928–2016) percussion concerto "Incantations," which appeared simultaneously innovative and traditional, with Heigo Rosin as the soloist. Innovative because Rautavaara wrote such a concerto at all, given that music history doesn't feature many percussion concertos. Where almost all other instruments have numerous canonical concerts from different periods and styles, the picture is much poorer for percussion. This made it significant that this piece, composed in 2008, was finally premiered in Estonia, thanks to Heigo Rosin's initiative. We have many famous percussionists, but Heigo Rosin is the first to specialize solely in solo and chamber music. This leads to the thought that now, with a percussion soloist in such excellent form yet still at the beginning of his journey, Estonian composers might be inspired to write more percussion concertos. Music history is full of examples of great instrumental concertos written with a particular performer in mind, and Rautavaara's concerto is no exception, having been created for the Scottish percussionist Colin Currie, who was also its first performer.
Rautavaara's musical language is surprisingly, or rather traditionally, harmonious, except for the ear-scratching descending seconds of the opening motif, which might make one momentarily doubt whether the orchestra is playing in tune upon first hearing. Despite the impressive range of percussion instruments at the soloist's disposal, the solo part, with a key role entrusted to the vibraphone and marimba, does not merely provide extravagant fireworks (though there are such moments!), but offers a very expressive performance, with the second movement being particularly delicate. As for Heigo Rosin's playing, it was as captivating and convincing as the piece itself. Once again, it must be affirmed that it's delightful to listen to and watch a soloist on stage who performs with such confidence, dedication, and joy!
The final piece of the concert was Igor Stravinsky's (1882–1971) "Petrushka," the 1947 version. Since Stravinsky's "The Firebird" recently featured in Vanemuine's repertoire (and according to principal conductor Risto Joost, every self-respecting orchestra should have a Stravinsky ballet in its repertoire), "Petrushka" was a very successful choice. Stravinsky's music, with its colorful character and vividness, is a true delight for listeners, and indeed—who better to capture ballet characters than a theater orchestra? With delightful solos, including the iconic trumpet solo from the third picture, which also forms part of the permanent orchestral solo repertoire, not to mention the piano, this piece offers a great opportunity to showcase the orchestra from all sides. Although it would be impossible and unnecessary to list all solo spots here, as they were all performed equally enjoyably and well, it proves once again that Vanemuine Theatre has every reason to take pride in its orchestra!
Perhaps it is fitting to end with a somewhat rhetorical question: what qualities characterize good orchestras? If so, a good orchestra can perform technically challenging music precisely, cleanly, and stylishly. A good orchestra's sound is rich and can be adapted to suit the era or the composer's nationality and style. Instrumental groups are balanced, and their performance carries a strong emotional charge. A good orchestra values collaboration with great conductors, as they can provide a unique and special sound to the orchestra, which arises not just from conducting technique but, more importantly, from the conductor's personality and essence. Based on the diverse program heard that evening, one can only conclude that the Vanemuine Symphony Orchestra, led by Risto Joost, undoubtedly possesses all these qualities, and extend best wishes for continued strength and inspiration.