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Lisa MacKinney
Limelight, June 2018

Von Otter is nuanced, dramatic and controlled, articulating every vocal action with power and precision. Ondine’s Super Audio recording is nothing short of magnificent, fairly leaping out of the speakers with a presence so powerful it could almost be touched… © 2018 Limelight  Read complete review

Nalen Anthoni
Classical Ear, April 2018

This is punctilious musicianship that is also at one with Anne Sofie von Otter’s perceptive characterisation of the Eight Songs discriminatingly orchestrated by Aulis Sallinen. © 2018 Classical Ear Read complete review

Huntley Dent
Fanfare, March 2018

[Otter] sings exceptionally well, and there’s barely an indication of age in her tender, heartfelt delivery.

My admiration for Lintu has been rising over the past few years, and his discography is steadily expanding, but one shouldn’t expect inspired music-making from this new release, good as it is. © 2018 Fanfare Read complete review

Paul E Robinson
Ludwig Van Toronto, February 2018

In some of the quieter songs orchestrated by Sallinen, Anne Sofie von Otter sings beautifully, with the rich tone we have come to admire over the years, while Lintu and his orchestra provide sympathetic accompaniments.

…Hannu Lintu conducts Tapiola and En Saga, an early tone poem from 1892, which has a strikingly original cymbal part—the player uses timpani sticks—a sound Sibelius blends with soft strings near the opening of the piece and again at the end, for a magical, unearthly effect which Lintu and the Ondine engineers capture perfectly. © 2018 Ludwig Van Toronto Read complete review

BBC Music Magazine, January 2018

The music’s roots in ancient Finnish chant have never been clearer—even at the height of the storm the forest still sings. © 2018 BBC Music Magazine

John Quinn
MusicWeb International, November 2017

Throughout the entire set of songs Anne Sofie von Otter sings very well and very persuasively. She is expertly accompanied by Lintu and the FRSO. These seem to me to be very successful orchestrations of the songs and I was completely convinced; Sallinen has added a new dimension to them. It’s very good that they have been recorded because this will bring Sallinen’s scorings to a wider audience. © 2017 MusicWeb International Read complete review

Erica Jeal
The Guardian, November 2017

…Finland’s current grand old man of composition, Aulis Sallinen picked eight of Sibelius’s songs and reworked the piano parts for orchestra. The voice he had in mind was Anne Sofie von Otter’s and she sings them beautifully here. Sallinen strikes a skilful balance between a dark, typically Sibelian soundworld and something supportive of von Otter’s mezzo-soprano, with its easy poise and natural flow… © 2017 The Guardian Read complete review

Andrew Mellor
Gramophone, November 2017

…this is a superb performance: rich down below, perky up top, full of delectable solos, with a sense of momentum that has a seismic effect on the musical argument… The string ensemble is extraordinary and the power and confidence mustered after that delicate hesitance is awesome, not least as it recedes into nothingness.

There are no blockbusters among the selection but they work beautifully together, from the elusive to the guardedly grand and the mildly enchanted. Von Otter’s voice may have lost some brightness but it has gained storytelling capabilities with age… One of the most striking Sibelius discs for years. © 2017 Gramophone Read complete review on Gramophone

Remy Franck
Pizzicato, October 2017

With this recording Hannu Lintu signs truly great performances, deeply inspired, highly colourful and evocative. In the songs orchestrated by Aulis Sallinen, Anne-Sofie von Otter’s singing is very atmospheric and the orchestra becomes a new narrative function. Outstanding! © 2017 Pizzicato

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