Search artist name

Biografía  The German-Finnish baritone Jukka Rasilainen regularly appears at all of the world’s great opera houses including the state operas of Vienna and Berlin, in Munich and Zurich, at the Bastille in Paris, the Teatro Real in Madrid, as well as in Tokyo and Buenos Aires. He maintains a close affiliation with the Semperoper in Dresden....Leer más

Detalles de representación:

Weiler Artists Management Berlin

Biografía  The German-Finnish baritone Jukka Rasilainen regularly appears at all of the world’s great opera houses including the state operas of Vienna and Berlin, in Munich and Zurich, at the Bastille in Paris, the Teatro Real in Madrid, as well as in Tokyo and Buenos Aires. He maintains a close affiliation with the Semperoper in Dresden....Leer más

Detalles de representación:

Weiler Artists Management Berlin
  • Todas las presentaciones

maskDe la organización artística / verificado por Operabase

mask Del artista / agente

m
 Matiné
t
 Tour
c
 Concierto

mask Del artista / agente

  • Repertorio (15)
Compositor & obraPapelProducciones
Bartók
A Kékszákallú herceg váraA kékszakállú herceg1
Beethoven
FidelioDon Pizarro6
Bizet
CarmenEscamillo6
Humperdinck
Hänsel und GretelPeter3

Videos

Críticas

The context of an international school added an extra dimension to the shooting, with the students coming from all parts of the world. They are the primary victims of shooter’s frenzied attack, but they also carry part of the guilt, for as the narrative unfolds it becomes clear that they had banded together to bully and humiliate him. Soprano Lucy Shelton was the teacher who witnessed the unfolding events and acts as a narrator, relaying her impressions and her own sense of guilt to the audience. She made a good impression, presenting her lines in a way which was similar to sprechgesang, which worked well and added to the vocal textures of the work. Markéta is the waitress’ daughter and one of the shooter’s victims. She is a carefully drawn figure; excellent at her studies, very studious, good at writing songs, maybe a little bit of a loner, but not unpopular. Vilma Jää, a Finnish folksinger-songwriter played the part. She possesses a high, flexible soprano, which she used to create the most remarkable lines through the interpolation of herding calls once used by the shepherds of Karelia, which occasionally gave her voice an almost disembodied sound. At the final curtain, she received loud applause, such was the quality and impact of her vocal skills. Soprano Beate Mordal performed well as Lilly. She was the ring leader in the bullying incident and eventually slaughtered by the shooter. Julie Hega playing the spoken part of Student 3 sympathizes with shooter after his humiliation, and planned the killings with him. It was a substantial role which displayed her ability to develop a truly believable and ultimately confused character. Simon Kluth, Camilo Delgardo Diaz and Marina Dumont also impressed in smaller acting roles, in which their fear during the shooting, and the depth of their trauma were convincingly essayed. Ultimately, this was not a work about a school shooting; it could have been about any traumatic event. This was about the consequences: the guilt, the self-deception, the lies and about coming to term with what had happened, about confronting the past and trying to carve out future lives. The fact that the work has such a tense and strong narrative as a backdrop meant it is also a gripping piece of theatre. Without doubt, “Innocence” is a painful work to watch for there is a lot of pain on view; lives are lost and survivors’ lives are destroyed, as they are pushed to their emotional limits. Yet in the epilogue the surviving students talk about their futures with optimism, and Markéta, the dead daughter of the waitress, encourages her mother to stop dwelling on the past, to stop buying her her favorite apples and birthday presents, and to move on. Over the coming seasons, “Innocence” is scheduled for performances at Covent Garden, Amsterdam, Helsinki, San Francisco and the New York Met. It is a production not to be missed.
Alan Neilson
Saariaho’s score begins as it means to go on and I immediately thought of a movie soundtrack and in its angularity and sparce scoring it was the composer Bernard Hermann I first thought of. As it goes on there are reminders of Alban Berg, Richard Strauss and Benjamin Britten amongst others. Hearing it through loudspeakers it seemed to have got the perfect advocate in Susanna Mälkki who encouraged those on stage, as well as the Estonian Philharmonic Chamber Choir and London Symphony Orchestra to surmount all the musical challenges Saariaho sets them.The featured roles are sung or spoken depending on whether it is performed by a singer or an actor. Singing more than speaking are Sandrine Piau as Patricia who is suitably intense though she struggles with the English, and Lilian Farahani and Markus Nykänen impress as the unhappy couple Stela and Tuomas. Lucy Shelton bitingly voices her bitterness over her inaction as the teacher and Jukka Rasilainen uses a suitably world-weary Sprechstimme as the priest. Julie Hega’s student was an intriguing character who I don’t think I got to the bottom of as she seems to drift through all the trauma happening to those around her and provide something of a commentary on all we see.Wide-eyed and increasingly distraught Magdalena Kožená (Tereza) strikingly relives all the sadness of her daughter Marketa’s murder and desperately holds on to her memories of her, so much so that she appears haunted by them. In the most amazing singing in this performance Vilma Jää (a Finnish folk musician and composer) brings eerie, piping, otherworldly, crystal-clear tones to her ghostly doll-like presence as Marketa. (Apparently her vocal histrionics are nothing less than a homage to traditional Finnish herding calls.)
Jim Pritchard

Contacto

Preguntas frecuentes

  • Soy un artista¿Cómo puedo añadir presentaciones, repertorio, fotos y administrar mi información de contacto personal? Haga clic aquí
  • Soy un agente¿Cómo puedo añadir mis datos de contacto personales y de la oficina, y actualizar mi lista de artistas? Haga clic aquí
  • Soy profesional de un teatro, festival, orquesta¿Cómo puedo usar la herramienta de casting profesional? Haga clic aquí
Explorar los artistas
© 2022 Operabase Media Limited or its affiliated companies. All rights reserved.