Vilma Jää Brings herding calls and mocking songs to Met Opera’s production of 'Innocence'
NEW YORK (AP) — When Vilma Jää enrolled at the Sibelius Academy to study folk music she never expected to end up playing a major role in one of the 21st century’s most acclaimed operas.
Kaija Saariaho, Finland’s leading opera composer, was working on a piece called “Innocence” and wanted one of the characters to sing in a style based on Finnish folk music rather than with a traditional operatic sound. She had heard Jää’s work on YouTube and asked her to make an audition tape.
“I said yes, that’s cool,” Jää said. “Everyone knows Kaija in Finland, so I knew her name, but I hadn’t listened to her music because I wasn’t into classical music.”
She grew up in Helsinki with a father who loved opera, but her musical tastes were more influenced by her mother. “Her side of the family has been into folklore for I don’t know how long,” Jää said. “My mother did folk dancing, taught it, and organized festivals of folk music and costumes.”
On the audition tape, she offered Saariaho samples of four different folk traditions — two of which ended up in the opera. “She liked what she saw,” Jää recalled. “And that’s how I found my way into this.”
Her role as Markéta thrust Jää into the international opera scene, starting with the world premiere of “Innocence” at the Aix-en-Provence festival in France in 2021, then productions in London, Amsterdam, San Francisco, and now New York, where “Innocence” is playing at the Metropolitan Opera through April 29.
The opera, which runs just under two hours with no intermission, takes place in two time periods 10 years apart that — in director Simon Stone’s production — play out simultaneously on a split-level revolving set.
In the present is a wedding banquet, where the characters include a waitress whose connection to the groom’s family gradually becomes clear. In the past is an international school that was the scene of a horrific shooting. There are roles in Sofi Oksanen’s libretto for 13 characters, who sing or speak in a variety of languages.
Susanna Mälkki, who led the premiere in Aix and is conducting at the Met, said Saariaho wanted to have “a multitude of musical elements. … Even the spoken parts have different qualities. ... It’s an extraordinary variety, and of course the most striking part is indeed Vilma’s because it’s unexpected.”
Saariaho, who died two years after the premiere, had already written some music for Jää’s first scene, but once she got involved the two of them worked on the role together.
“Everything after she wrote for my voice and the techniques I introduced to her,” said Jää, whose character is a pupil in the school and also the daughter of the waitress.
“I showed her which vowels to use, how high you can do each technique,” Jää said. “Whenever she composed something for me she would send it over and ask, Does this work? How does this sound? How would you sing this?”
“Kaija was aware that she wasn’t the expert in that Finnish folk tradition,” said Stone. “So of course she was leaning into someone who had just spent years at university studying it.”
One of the folk traditions that figure in Markéta’s music is the herding call or Karjankutsu, which Jää describes as “very high-pitched, very straight, no vibrato.”
“It’s a call, so it’s not trying to be beautiful,” she said. “It’s trying to be loud so that your herd will hear you, like 5 kilometers away when they’re roaming around the forest.”
The other tradition is Viena Karelian yoik. “Most of them are mocking songs toward young men,” she said, “so they have this voice-breaking technique. Whenever there is the letter H you would break your voice, and you also add syllables so you can use the voice-breaking in the middle of a word. Then you have a part where you just improvise with the voice breaking … very few notes, maybe only three pitches.”
Stone said there is “a kind of innocence to her as a character who didn’t ever grow up into adulthood. Which means that her almost naive folksinging style allows it to feel slightly free of the very complex psychological burden that a lot of the rest of the music has.”
Mezzo-soprano Joyce DiDonato, who portrays Markéta’s mother, said, “it’s almost like having Kaija in the room with us because it’s such a unique portrayal. … Vilma has this beautiful presence and serenity about her, and it makes the closing scene of having to let her go terribly poignant.”
When Jää isn’t performing in “Innocence” she pursues a busy career as singer, composer, fiddler, researcher and recording artist. Her 2023 debut album “Kosto” blended Finnish folklore with electronic music.
Does she imagine herself ever performing in another opera? “Sure, if a composer would write a role for me,” she said. “Nothing compares to singing live with a full orchestra … because the music lives and breathes. It’s something pop music can never do.”
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