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SEEN
AND HEARD INTERNATIONAL OPERA REVIEW
Olli Kortekangas, Isän Tyttö
(Daddy’s Girl): (Helsinki
Premiere) Soloists, Chorus
and Orchestra of Finnish National Opera, Helsinki 24.1.2009
(BK)
After making its debut at the Savonlinna
Festival in 2007, this was the Helsinki
premiere of a revised version of
Olli Kortekangas’s latest
opera. Commissioned
by both Savonlinna and the Finnish Government, the opera looks at
the way in which one Finnish family has been affected by the events of the
past 60 years. Three
generations recount significant episodes - from the death of
'Daddy's Girl' Anna’s
father Urho in the war,
through the subsequent political
and economic ideologies
that lead the opera's characters
to end
in the present day with a vision of a multi-cultural future.
Libretto: Michael Baran and Olli Kortekangas
Conductor: Mikko Franck
Director: Michael Baran, Anna Kelo
Sets and lighting: Mikku Kunttu
Costumes: Erika Turunen
Cast:
Anna: Riikka Rantanen
Siiri, Anna’s mother: Päivi Nisula
Urho, Anna’s dead father: Jaakko Kortekangas
Axel, Anna’s ex husband: Juha Kotilainen
Vera, Anna and Axel’s daughter: Mari Palo
Juri, Anna and Axel’s son: Nicholas Söderlund
Taisto: Juha Riihimäki
Ulla, Axel’s second wife: Jeni Packalen
Olga, Juri’s wife: Anna Danik
Young Anna: Sanni Vilmi
Ruth, Vera’s adopted daughter: Rebecca Holm
Chorus of Finnish National Opera
Orchestra of Finnish National Opera
Finnish National Opera’s children’s choir
Riikka Rantanen (Anna) and Jaakko Kortekangas
(Urho)
Showing a developing
society using the medium of only
one family
is a difficult task, and at first sight this
might seem to be the major
weakness of the piece. Instead of a straightforward
story-line, we are given a series of scenes which
illustrate each major ideological epoch in Finnish
post-war history. Anna’s mother
Siiri, is a die-hard capitalist and
entrepreneur, left in poverty by her husband's
death initially, but rising through her belief in hard work to achieve economic security
running a successful clothing factory;
though sadly without much
feeling for the workers she employs.
Anna herself - in reaction
to her mother's values - becomes a
radical socialist who, with her husband
Axel, wants to build a better society
based on a vision which is more humane and has rather more
than material wealth as
its goal. After their divorce, Anna
runs away to
travel in Africa, helping people in the developing world
on her journey and only
returning when she is dying, on her mother's 80th
birthday. Axel meanwhile, gives up his radicalism and
lives a comfortable middle-class life with his second
wife Ulla, exactly like his son Juri - hampered with
his Russian name during his parents' radical years.
Of the third generation in the family, Anna and
Axel's daughter Vera is the most interesting. She has been in a
mental hospital having had a breakdown because of the failure of her
financial career. Resonating perfectly with recent events
in America and much of Europe, it turns
out that Vera had
followed the ‘continuous growth model’
of financial investment which resulted in
immense wealth for herself and her clients. All went well
until the Finnish recession hit in
the 1990s
after which
Vera, feeling responsible
for the subsequent losses, attempted suicide.
Later she recovered and now lives with her adopted
daughter Ruth, a mixed race child symbolising
Finland's multi-cultural future. Over the
sixty years, Grandmother Siiri has developed a lasting
relationship with Taisto, the janitor in the tenement
where she lived immediately after the war.
The opera's title 'Daddy's Girl'
signifies the opera's recurrent
and linking theme -
Anna’s regular visions of her father, who
appears to her at critical moments to repeat the advice he wrote
in a letter
to her shortly before he
was killed. The advice is
always the same: that people should be
always there for their
families and that everyone
has a moral duty to improve themselves as best they
can during their lives.
The opera's structure may seem
rather unwieldy, flipping as it does between the
generations in a non-chronological order, but
since both Kortekangas and
Michael Baran
are fond of
film and the use of flashbacks in
particular, the dramatic device transfers very easily
to the stage, once all the characters have been
identified. The various
ideological phases shown are
by no means unique to
Finnish experience
and much of
Britain’s post-war history could easily be
portrayed in the same way –
materialism during the need to rebuild following a war; socialist
idealism verging on communism in the 60s and
early 70s; an economic boom
in the 80s followed by
recession (in the 90s
for Finland) - these
are all common elements for
much of western Europe and mean that what is
ostensibly a very ‘Finnish’ opera has a much wider application than
might have been expected. In fact there is only
one specifically Finnish political episode in the
opera apart from occasional comments about Finnish
culture from the chorus, the use of a recording of
vote counting during the election of the former Prime
Minister of Finland Urho Kekkonen, to the post
of President in 1956.
Musically, the
work is very accessible, with its sound world (for those unfamiliar
with the composer’s work) reminiscent at times of
both Rautavaara and Janacek, but
having Kortekangas’s own distinctive voice. The programme notes
describe it as ‘late Romantic’, but if so it is very late and
it doesn’t hesitate to use dissonance where necessary.
Incorporating a variety of styles including leitmotiven
for characters and particular
historical periods, there is great
beauty in this music:
in the scene where the workers in Siiri’s
clothing factory see themselves as they
once were when children, and
a
children’s choir sings that they shouldn’t be afraid
to remember who they used to be, for example.
And again near the end
of the work when the protagonists
sing of living now instead of constantly striving
towards 'the future', whatever that might mean for
them. There is also
a further astonishing chorus (always a
great strength
at FNO) shortly before the
final scene.
In this
production, all of the roles were filled by singers with excellent
voices, all of whom were well-suited to their roles and to the
music. Kortekangas has a gift for writing lines which bring out the
best in his singers, and this score showed off
this ability very well.
While it seems
almost wrong to pick out any individuals for particular attention,
the singing of Riikka Rantanen as Anna and Mari Palo as Vera was
truly excellent. Of the men, Nicholas Söderlund as
Anna and Axel's son Juri,
was in
particularly good form too as was Jaakko
Kortekangas as Anna's deceased father Urho.
The orchestra
and chorus of FNO were, as usual, forces to be reckoned with, and
the conducting of Mikko Franck was, as ever, an inspiration.
Finally, the
lighting has to be mentioned. Mikki Kunttu’s scheme included a split
panel at the back of the set showing images to provide reinforcement to the emotional changes happening on stage. These,
projected behind a simple set which
consisted mainly of a movable split stage, added to the emotional
intensity of the piece and acted as a unifying force.
My only
slight complaint was
that raising the house
lights at the opera's
end, to unify the tale told by those standing silently on stage
with those of us watching in the audience,
was superfluous. There was no need
for that; there never is.
This was a fine piece of music
theatre in itself and we had understood
its message
- really.
Bill Kenny
Picture © Stefan Bremer
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