MEDIA

French and feminine were a red flag for Swedish critics in the 1890s, and Paris was definitely a better platform for female composers than Sweden. Helena Munktell, like her colleague Laura Netzel, enjoyed a considerable reputation in Paris, had her late romantic-sounding music published by French publishers - and played the piano both when Esther Sidner sang her songs in the Salle Pleyel, and when her opéra comique “I Firenze” was premiered in her sister's painting studio. Classics alert for the irresistible Violin Sonata (1905), which takes its cue from César Franck's famous A minor sonata but combines sprightly Dala rhythms with heartfelt French melody. The songs are reminiscent in mood and harmony of Ernest Chausson and the early Fauré - and of the vocal splendor of the opera composer Jules Massenet. Superb performances from Tobias Ringborg, Kristina Winiarski and Peter Friis-Johansson, and Sofie Asplund's light soprano and fine diction are perfect for Helena Munktell's Swedish-French pralines. (translated from Swedish by DeepL)