1890-luvun levoton ja etsivä henki - Berliozin Faustin tuomio Helsingissä

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Uran ja myötätunnon kysymyksiä : Suomalainen sä- veltäjä, musiikkitieteilijä ja lehtimies Armas Launis kolonialistisessa Ranskassa

When he settled in Nice in 1930, Armas Launis (1884–1959) became an outsider both to his native Finland and to his new home country, France. In the late 1930s this Protestant composer was working on two operas to his own libretti, whose events were situated in historical North Africa. A student of Jean Sibelius, Ilmari Krohn (Helsinki), Wilhelm Klatte (Berlin), and Waldemar von Baussnern (Weimar), Launis visited Tunisia and Morocco in 1924–27 and spent two winters in Algiers, where he made the acquaintance of two directors of the Conservatoire’s Arabic department: Edmond Nathan Yafil and Mahieddine Bachetarzi. Why did Launis chose religious subjects for his operas Theodora and Jehudith? How do North-African impulses appear in these works? The answers are based on Launis’s books Opera and Spoken Theatre (1915) and In the Land of the Moors (1927), his lecture, ‘Traits of Arabo-Moorish music’ (1928), and his correspondence with Sister Marie Béatrice, a French missionary

‘Rakas pikku Ainoni.’ : Pariisin Conservatoiren lauluprofessorin rooli oopperalaulajauran arkkitehtinä nähtynä Edmond Duvernoyn ja Aino Acktén kirjeiden kautta

«Ma chère petite Aïno». The Role of a Paris Conservatoire Singing Professor as Architect of an Opera Singer’s Career, as Seen through Letters of Edmond Duvernoy and Aïno Ackté Helena Tyrväinen Abstract. The manuscript collection of opera singer Aino (Aïno) Ackté-Jalander (1876–1944) in the National Library of Finland, Helsinki, contains one of the most extensive collections of letters of any Finnish music professional. Besides documenting the solid international standing of this talented citizen of the Grand Duchy during the latter part of the Russian imperial era, it casts light on Parisian opera culture and on the dynamic internationalization of Finnish musical life taking place at the time. While Ackté is also remembered for her successful initiatives in Finland’s national musical culture, she appears in this article first and foremost as an international opera diva. In their quest for professionalism and success, European musicians at the turn of the 20th century worked in a changing international environment established in several attractive cultural and musical centres. In this context I observe the formation of the career of one of Finland’s most successful music professionals in its relation to a dynamic powerfield of many contemporaneous but different cultural capitals (Christoph Charle), a powerfield under constant transformation.The principal source material for this study includes the 117 letters, cards, or notes that Aïno Ackté’s voice teacher Edmond Duvernoy (1844–1927) wrote to her over a period of about thirty years; Ackté’s letters to Duvernoy remain undiscovered. Duvernoy’s letters offer information on the strategy for a successful opera career in the Parisian context. This correspondence unveils a dynamic network operating behind the Parisian opera machine, and thus depicts a star singer’s mastery of her own career as only relative. It is along these lines that I investigate the specific local and cultural conditions behind the formation of Ackté’s singing career. A singer’s success in Paris did not necessarily guarantee her a favoured position in other opera centres. Duvernoy’s letters also shed light on the interaction and rivalry of the Opéra with other important opera houses, and in particular with New York’s Metropolitan Opera. It may reasonably be claimed that Paris shaped Ackté as an artist. At a time when no institutional operatic activity existed in Finland, she undertook her vocal studies at Paris’s famous Conservatoire in 1894–1897, and was subsequently engaged as a soloist at the Opéra in 1897– 1904. In 1900, at the age of 24, she was the Opéra’s most highly paid female singer. She also enjoyed a remarkable international career outside Paris, but nowhere else did she gain an equally stable long-term status. After 1913 she appeared no more in foreign opera houses. The letters of Duvernoy to Ackté reveal that in Paris the singing teacher’s pivotal position as vocal coach, répétiteur, guardian, and contact person vis-à-vis the opera institution continued uninterrupted throughout a singer’s professional life. The teacher negotiated with opera directors to find engagements that would match a student’s role type; yet in fact, Ackté was soon to experience ingénue roles, which frequently were assigned to her, as artistically restrictive.Peer reviewe

Institutionaalinen säätely ja Sibeliusta koskevat havainnot Pariisissa 1924–1931 : Schnéevoigtit ja Association Française d’Expansion et d’Échanges Artistiques

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Luontomatkailun kysyntä ja tarjonta Suomessa

Tieteen tori: Luontomatkail