{"id":18697,"date":"2021-07-13T11:50:25","date_gmt":"2021-07-13T08:50:25","guid":{"rendered":"https:\/\/www.epcc.ee\/2021\/07\/living-with-trauma-innocence-at-the-festival-daix-en-provence\/"},"modified":"2021-08-24T12:05:50","modified_gmt":"2021-08-24T09:05:50","slug":"living-with-trauma-innocence-at-the-festival-daix-en-provence","status":"publish","type":"post","link":"https:\/\/www.epcc.ee\/en\/2021\/07\/living-with-trauma-innocence-at-the-festival-daix-en-provence\/","title":{"rendered":"Living with Trauma: Innocence at the Festival d\u2019Aix-en-Provence"},"content":{"rendered":"

Saariaho \u2013\u00a0Innocence<\/em><\/strong><\/p>\n

Waitress \u2013 Magdalena Ko<\/strong>\u017een\u00e1
\nMother-in-Law \u2013 Sandrine Piau
\nFather-in-Law \u2013 Tuomas Pursio
\nBride \u2013 Lilian Farahani
\nGroom \u2013 Markus Nyk<\/strong>\u00e4nen
\nPriest \u2013 Jukka Rasilainen
\nTeacher \u2013 Lucy Shelton
\nStudent 1 (Marketa)\u00a0<\/strong>\u2013 Vila J<\/strong>\u00e4\u00e4
\nStudent 2 (Lilly) \u2013 Beate Mordal
\nStudent 3 \u2013 Julie Hega
\nStudent 4 \u2013 Simon Kluth
\nStudent 5 (Jeronimo) \u2013 Camilo Delgado D\u00edaz
\nStudent 6 \u2013 Marina Dumont<\/strong><\/p>\n

Estonian Philharmonic Chamber Choir, London Symphony Orchestra \/ Susanna M\u00e4lkki.
\n<\/strong>Stage director \u2013 Simon Stone.<\/strong><\/p>\n

Festival d\u2019Aix-en-Provence, Grand Th\u00e9\u00e2tre de Provence, Aix-en-Provence, France.\u00a0 Monday, July 12th, 2021.<\/strong><\/p>\n

Kaija Saariaho\u2019s opera\u00a0Innocence\u00a0<\/em>should have been the centrepiece of last year\u2019s Festival d\u2019Aix-en-Provence, but unfortunately the run was cancelled after the first stage-piano rehearsals due to the cancellation of the festival itself during the health emergency.\u00a0 Fortunately, the festival was able to reschedule the premiere for this year\u2019s edition and invited the original cast, alongside the Estonian Philharmonic Chamber Choir and the London Symphony Orchestra under Susanna M\u00e4lkki, to give the work its belated premiere.<\/p>\n

And how lucky we are to have experienced it.\u00a0 Saariaho, alongside novelist Sofi Oksonen and translator Aleksi Barri\u00e8re, has given us nothing short of a masterpiece.\u00a0 This is what opera should be \u2013 a story that engages, grips even, in a soundworld of incredible complexity, given performances in a staging that leaves one utterly transfixed from beginning to end.\u00a0 In a note in the program book, Saariaho mentions how she was attracted to creating a compact work that would last no more than an hour and forty-five minutes.\u00a0 What we get is an engrossing experience that just refuses to let us go.\u00a0 Whenever I attend a new work, I like to read up on it in advance, read the libretto if possible, read interviews with the composer and interpreters.\u00a0 Here, I almost wished that I hadn\u2019t, because the piece itself is so accessible, pulls you into the sheer intrigue of the story, that one benefits from not knowing what happens next.<\/p>\n

\"\"<\/a> 
Photo: \u00a9 Jean-Louis Fernandez<\/figcaption><\/figure>\n

Oksonen and Barri\u00e8re set the work in contemporary Finland.\u00a0 A Czech waitress, Tereza, is called in at the last moment to work a wedding when her colleague calls in sick.\u00a0 During the wedding, Tereza is forced to confront her past.\u00a0 The wedding itself, is contrasted with events at an international school ten years previously.\u00a0 The cast contains thirteen principals and contrasts the opera singers at the wedding, with actors and singers from non-operatic backgrounds who act out the flashback.\u00a0 It sounds when written down like this like it might not actually work.\u00a0 But it does and helps to clarify the narrative, due to the juxtaposition between the operatic and non-operatic singing and acting.\u00a0 Saariaho succeeds in this by creating characters with individually distinct vocal lines and orchestral accompaniment.\u00a0 These include the extraordinary Finnish folk singer and scholar, Vila J\u00e4\u00e4, who displayed vocal feats of astounding virtuosity, the voice elastic in its soaring melismas.<\/p>\n

\"\"<\/a> 
Photo: \u00a9 Jean-Louis Fernandez<\/figcaption><\/figure>\n

Oksonen and Barri\u00e8re\u2019s libretto switches between English as a common language and characters speaking\/singing their own languages.\u00a0 This is a reminder of a Europe that we have come to know, where marriages and relationships cross borders and languages, and free movement is taken as a given. \u00a0Saariaho\u2019s orchestral writing is staggering in its sophistication.\u00a0 Her score has a dark violent core, yet contrasts it with the brightness of bells, a reminder of a time when the future held promise, or hazy strings that recall the past.\u00a0 The chorus remains offstage amplifying the textures in a glow of sound, occasionally singing words, at other times adding a halo to the texture that suggested both innocence and a threat.\u00a0 The effect was compounded by the singing of the Estonians who, with their impeccable blend and clarity of tuning, offered singing that was outstanding in its accuracy.\u00a0 Needless to say, Susanna M\u00e4lkki led her forces with great assurance, obtaining playing of astounding tonal variety from the LSO and allowed the performance to emerge with absolutely unanimity of approach throughout the vast cast.<\/p>\n

\"\"<\/a> 
Photo: \u00a9 Jean-Louis Fernandez<\/figcaption><\/figure>\n

Simon Stone gave us an equally virtuosic production.\u00a0 He used a revolving set to give us varying views of the action, making full use of the timeline as the evening developed.\u00a0 Through the cast he showed us much of the story, yet also allowed us to fill the gaps in our mind by ourselves, which made the staging even more impactful.\u00a0 The direction of the cast was utterly naturalistic \u2013 no standing and delivering here \u2013 and every single member of the cast created believable individuals who brought their individual stories to life.\u00a0 I would love to discuss it further but fear in doing so will just give spoilers.<\/p>\n

\"\"<\/a> 
Photo: \u00a9 Jean-Louis Fernandez<\/figcaption><\/figure>\n

Magdalena Ko\u017een\u00e1 sang Tereza in her ageless mezzo, the tone still limpid and full of beauty.\u00a0 While Tereza\u2019s vocal lines sat mainly in the middle voice, Saariaho also gave Ko\u017een\u00e1 the opportunity to use a generous chest register.\u00a0 Sandrine Piau\u2019s soprano is similarly ageless and here, as the Mother-in-law, she was given some soaring lines which she dispatched with her trademark purity of tone.\u00a0 Tuomas Pursio sang the Father with a baritone that was appropriately world-weary in tone.\u00a0 Lilian Farahani sang the Bride in a sunny soprano with a genuine trill.\u00a0 Markus Nyk\u00e4nen sang the Husband in a healthy tenor with impressive English diction, one I\u2019d certainly like to hear in some of the big Britten roles one day.\u00a0 Jukka Rasilainen sang the Priest in an appropriately dark and impassioned bass.<\/p>\n

\"\"<\/a> 
Photo: \u00a9 Jean-Louis Fernandez<\/figcaption><\/figure>\n

The actors spoke their lines with clarity and precision.\u00a0 Lucy Shelton, as the Teacher, was required to use sprechgesang which she did in a still-firm soprano with assurance of pitching.\u00a0 Simon Kluth injected his lines with a gripping sense of fear, while Camilo Delgado D\u00edaz, an operatically trained tenor, spoke his lines with clarity and filled them with feeling.\u00a0 Julie Hega, who also used sprechgesang, was a haunting stage presence and dispatched her lines with musicality.<\/p>\n

This was an astounding evening \u2013 one that will live long in the memory as the opportunity to experience a great work given the very best performance possible.\u00a0 Saariaho, and the entire creative team, have given us a piece that will be one of the major operas of the twenty-first century.\u00a0 Over the past few years, I\u2019ve had the opportunity to see a number of new works.\u00a0 Yet none has had the visceral impact of this one.\u00a0 It displays an invention and sophistication of orchestral and vocal writing that is endlessly fascinating.\u00a0 The libretto itself is masterfully constructed and the staging feels as one with the work itself.\u00a0 This was a truly great evening in the theatre.<\/p>\n

Look more: Opera Traveller<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Saariaho \u2013\u00a0Innocence Waitress \u2013 Magdalena Ko\u017een\u00e1 Mother-in-Law \u2013 Sandrine Piau Father-in-Law \u2013 Tuomas Pursio Bride \u2013 Lilian Farahani Groom \u2013 Markus Nyk\u00e4nen Priest \u2013 Jukka Rasilainen Teacher \u2013 Lucy Shelton Student 1 (Marketa)\u00a0\u2013 Vila J\u00e4\u00e4 Student 2 (Lilly) \u2013 Beate Mordal Student 3 \u2013 Julie Hega Student 4 \u2013 Simon Kluth Student 5 (Jeronimo) \u2013 […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-18697","post","type-post","status-publish","format-standard","hentry","category-media"],"acf":[],"yoast_head":"\nLiving with Trauma: Innocence at the Festival d\u2019Aix-en-Provence - Estonian Philharmonic Chamber Choir<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.epcc.ee\/en\/2021\/07\/living-with-trauma-innocence-at-the-festival-daix-en-provence\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Living with Trauma: Innocence at the Festival d\u2019Aix-en-Provence - 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