Aarne Vainio - Aarioita ja lauluja (2019)

Aarne Vainio is one of the most prominent soloists in the history of the National Opera. In the 1960s, he was the leading bass-baroque of the opera, singing over 80 roles in 26 years. The astonishing extent of the voice of Vainio (D-g1) made it possible to play both bass and baritone roles. With recordings, she is as cheeky as Escamillo, Scarpia and Figaro as Ramfis and the Great Quiz player, succinct (bass) baritone and magnificent bass cantante. As a Wotan, she is a chord with the current blasters. Vainio always pronounces the text naturally clearly, uses his voice for a masculine processing and tone. There is both soft sensitivity and great power - no shouting. In addition, the album hears cowboy folk songs, Carl Michael Bellman and Finnish art songs. Especially Aarre Merikannon Valvotko far away there and Ahti Sonninen's Song of Happiness are captivating samples of Vainio's masterful breathing and legate control and sophisticated grip.

The career of Bassobariton Aarne Vainio (1917-) as a soloist at the Finnish National Opera took 26 years. When he retired in 1972, he had sung in 1,500 plays and had over 80 roles. Even more welcome is the soundtrack now available on the market, which undoubtedly shows the opera and singing software that Vainio is a great artist whose interpretations are sufficient to be exhausted. Take a look at the descriptive text of the producer Tero Halvorsen. When Vainio sang Carmen's Escamillo role in practice in the 50s, the legendary Maestro Leo Funtek dug out his five-pound coin in his pocket, meaning that for the first time in his conductor period, the solo singer sang in the style and quiet enough. So the album goes from Toreador's aria to Figaro's wedding, Scarpian's scapegoat to Ramphi's condemnation, from the grave of Verdi's great quiver to Wotan's farewell and the magic of the magic light. The Finnish melody blossoms and the illusion of Bellman's visas invokes. Marja Eskola, Maiju Kuusoja, Eini Liukko-Vaara, Kauko Väyrynen and Kim Borg will be the most helpful, and it must be said that in those days there was a real song culture in our country. The finest in Vainio's song art is that he never loses the warmth and rich look of his voice. Wotan does not dry up as a pompous preacher, nor is a great quizator a one-off evil epitome. The introductory text, with its abundant knowledge, images and excerpts, critically accentuates the hearing experience.