7.8. Finnish National Opera Choir in English

The Magic of Opera on a Summer Evening
The Finnish National Opera Chorus 80 Years

Thu August 7, 2025 at 7 pm
Tapiola Church, Espoo

Finnish National Opera Chorus
Marge Mehilane and Tatu Erkkilä, musical direction
Tuomas Juutilainen, piano
Joonas Minkkinen, organ

PROGRAMME

PIETRO MASCAGNI (1863–1945)
Easter Hymn from the opera Cavalleria rusticana (1890)
Ann-Marie Heino, mezzosoprano (Santuzza)

GIUSEPPE VERDI (1813–1901)
The Anvil Chorus from the opera Il Trovatore (1853)

AULIS SALLINEN (s. 1935)
Is It Spring in Finland?, chorus scene from the opera Punainen viiva (The Red Line, 1978)

W. A. MOZART (1756–1791):
O Isis und Osiris, Sarastro’s aria from the opera The Magic Flute (Die Zauberflöte, 1791)
Janne Sihvo, bass

FRANCIS POULENC (1899–1963)
Salve Regina, final scene from the opera Dialogues des carmélites (1957)
Saara Kiiveri, soprano (Sister Constance/Blanche)

LEEVI MADETOJA (1887–1947)
Talapakan Nikolai se kaunihin kesän…
Häjyt tulevat!
Two choral scenes from the opera Pohjalaisia(1924)

TOIVO KUULA (1883–1918)
Auringon noustessa (At Sunrise) op. 11/3 (1909)

GIACOMO PUCCINI (1858–1924)
Café Momus; Quadro secondo, scenes from Act II of the opera La Bohème (1896)
Yusniel Estrada, tenor (Rodolfo)
Sampo Haapaniemi, baritone (Marcello)
Juha Pikkarainen, bass-baritone (Colline)
Joonas Orrain, baritone (Schaunard)
Satu-Kristina Vesa, soprano (Mimì/Musetta)

GIOACHHINO ROSSINI (1792–1868)
Overture from the opera Wilhelm Tell (1829)
Arr. Julie Eschliman, coreography – Jere Erkkilä

JACQUES OFFENBACH (1819–1880)
Barcarolle from the opera The Tales of Hoffmann (Les Contes d’Hoffmann, 1880)
Marianne Montonen, soprano (Giulietta)
Minna Grönthal, mezzosoprano (Niklaus)

GIACOMO PUCCINI (1858–1924)
Humming Chorus from the opera Madama Butterfly (1904)

RICHARD WAGNER (1813–1883)
Chorus of Pilgrims and final scene from the opera Tannhäuser (1845)

About the artists

THE CHORUS OF THE FINNISH NATIONAL OPERA

Each singer brings their own unique skills and personality to a performance, and together they create the sound that resonates across the Opera House . The chorus often plays the role of the storyteller. It conveys the most intense moments of the drama, whether it evokes joy, sorrow, love, or anger.

The chorus has been an integral part of the Finnish National Opera’s productions for over a century. In its early days, the chorus was composed of amateur singers, but it evolved professionally over time. The Choral Singers’ Association of the Finnish Opera was established in spring 1945 with 33 singers.

Today, the Finnish National Opera employs 53 tenured opera singers. Depending on the season and repertoire, they perform either as soloists or in a mixture of soloist and choir roles. Most of the singers form the Chorus of the Finnish National Opera, Finland’s only full-time professional chorus.

The composition of the chorus varies by production. For operas requiring a larger chorus, additional singers from the FNO’s extra chorus join the ensemble. The Opera House also has a children’s choir of approximately 50 singers. The chorus masters of the Finnish National Opera are Marge Mehilane and Tatu Erkkilä.

MARGE MEHILANE graduated from the Estonian Academy of Music and Theater as a choir conductor in 1995. Since 1997, she has worked as a choir master at the Finnish National Opera.

TATU ERKKILÄ (b. 1993) is a Helsinki-based choir conductor and pianist who currently works as assistant choir master at the Finnish National Opera and artistic director of the Polyteknikkojen Kuoro choir. Previously, he served as artistic director of the mixed choir Somnium Ensemble (2009–2020) and assistant choirmaster at the Mannheim Opera House in Germany (2020–2022). Since fall 2023, he has also served as artistic director of the vocal ensemble Taurus Consort, which he founded. Erkkilä completed his A degree in choral conducting at the Sibelius Academy of the University of the Arts in spring 2019 and graduated with a master's degree in music in the summer of the same year. During the 2018-2019 season, he completed his studies at the Hanns Eisler Academy of Music in Berlin. Erkkilä works regularly as a répétiteur and rehearsal conductor at the Savonlinna Opera Festival, among others. He is also a sought-after accompanist and audition coach. In addition to occasional solo engagements, he can be heard singing with the Helsinki Chamber Choir.

TUOMAS JUUTILAINEN studied piano at the Sibelius Academy under Hamsa Al-Wadi Juris and at the University of Michigan in the United States under Professor Martin Katz, majoring in chamber music and accompaniment. After graduating in 2017, he participated in the prestigious Merola Opera Program in San Francisco. Since then, he has been in high demand as a répétiteur in independent productions in Finland. He has worked as a répétiteur at the Finnish and Norwegian National Operas and as a part-time teacher in the opera program at the Sibelius Academy. Juutilainen is also an active orchestral musician and has been a frequent guest with the Finnish National Opera Orchestra, the Norwegian National Opera Orchestra, the Finnish Radio Symphony Orchestra, and as a keyboardist with the Helsinki City Theater. His artistic work has been supported by the Finnish Cultural Foundation, the Pro Musica Foundation, and the Martin Wegelius Foundation.

JOONAS MINKKINEN is an organist, harpsichordist, and pianist from Helsinki who studies at the Sibelius Academy of the University of the Arts Helsinki in the Department of Church Music. He has studied under Ville Urponen (organ), Pekka Suikkanen (organ improvisation) and Elina Mustonen (harpsichord), among others. Minkkinen is currently preparing for his A degree in organ under the guidance of Peter Peitsalo. He has worked as a rehearsal pianist and accompanist for several choirs in rehearsals and concerts, as well as rehearsal pianist for Philip Glass's opera Akhnaten, produced by Opera Box. Joonas Minkkinen is deputy director of Suomen Laulu and works as a cantor in the Helsinki Cathedral Parish.

Chorus

SOPRANO

Hada Yukie
Hylkilä Annami
Karjalainen Päivi
Kiiveri Saara
Kujala Krista
Lehesvuori Johanna
Montonen Marianne
Mustaniemi Emma
Rantala Hanna
Romanova-Vorontsova Tatjana
Tähtinen Stella
Vesa Satu-Kristina
Åman Tove

MEZZOSOPRANO

Erokhina Anna
Grönthal Minna
Liiv Polina
Mattila Ruut
Nuutinen Irina 
Sares Mari
Vinogradova Natalia

ALTO

Heino Ann-Marie
Lenart Maria
Ontronen Anu
Podymalkina Evgeniia
Silmato Merle
Unt Getter
Wallén Ida

TENOR

Eloranta Joonas
Estrada Yusniel
Hattunen Heikki
Leppänen Jasper
Liiv Roland
Lundell Topias
Martikainen Jere
Moisio Juha
Mäkinen Simo
Shon Halim
Suninen Juhana
Suominen Olavi
Vesa Petri
Virtanen Kalle

BARITONE

Haapaniemi Sampo
Han Dong-Hoon
Hosio Arto
Lehtinen Tuomas
Mitjonen Juha-Pekka
Nieminen Markus
Orrain Joonas
Takkula Samuli

BASS

Kilpelä Aapo
Kohva Visa
Nykänen Marko
Pikkarainen Juha
Sihvo Janne

About the programme

For many opera lovers, the choir is the most important element of the music. It is the choir scenes that give you goose bumps, drive the story onward, and describe the mood of the events. In opera houses, nothing touches the emotions as deeply as the roar of a large choir that knows what it is doing. That is precisely what we will enjoy in this concert.

The anniversary concert opens with Cavalleria Rusticana, Pietro Mascagni's one-act jealousy drama.. The ingredients of the tragedy, set on Easter Day, are already present when the villagers gather in the square before going to church. The Easter hymn Regina Coeli, sung by the choir and Santuzza, is heard before the story moves towards the death of Turiddu, whom Santuzza loves jealously.

Opera plots are often a complex collection of love, jealousy, revenge, and disguise. Giuseppe Verdi's four-act Il Trovatore is downright breathtaking in its plot twists. The count and the troubadour, who are both in love with the same maiden, do not know that they are brothers, because a gypsy woman has stolen one of them from his cradle and raised him as her own. The brothers are also enemies in war, and the troubadour, wounded in battle, recovers in a gypsy camp. At dawn, the gypsies sing while striking their anvils: the day is bright, and nothing is more beautiful than a gypsy girl. The maiden decides her own fate by drinking poison, the count executes his troubadour brother, and the gypsy woman gets her revenge on the boys' father  who sent her mother to be burned at the stake!

Topi and Riika, characters in Aulis Sallinen's opera Punainen viiva (The Red Line), struggle against deprivation in the wilderness of Kainuu with their three children. The year is 1907, and Finland's first parliamentary elections are approaching. The people, men and women alike, are allowed to vote, including Topi and Riika. "Is it spring in Finland?" asks the choir in the work's most famous scene.

The shortest summary of the plot of Mozart's The Magic Flute that I have seen is by journalist Minna Lindgren and reads as follows: "The prince learns how to live." This opera, which is based on mythological themes, features characters that represent the concepts of good, evil and innocence. Once the mishaps, obstacles, and riddles have been overcome, the lovers Prince Tamino and Princess Pamina are united. Good has triumphed over evil, and Sarastro and his priests sing a greeting to the newlyweds: O Isis und Osiris.

Francis Poulenc's Les Carmélites was inspired by the memoirs of Marie de l'Incarnation de Dieu, an Ursuline nun who survived the French Revolution.Like many operas, this one is set in history yet comments on the events of its own time. In this case, it reflects the trauma experienced by post-World War II France. In the opera's shocking finale, the nuns who defended their faith during the crisis are executed one by one. As they wait their turn, they sing the impressive 'Salve Regina'. In the background, the guillotine works steadily.

Leevi Madetoja's Pohjalaiset, premiered in 1924, was the first opera to be broadcast on Finnish radio. In 19th-century Ostrobothnia, a tyrannical sheriff terrorises law-abiding citizens. They are also plagued by bandits who rob houses at will. Thankfully, matters with the latter are settled by wrestling matches. There is plenty of joy and sorrow, and tragedy is inevitable. Madetoja used folk song melodies arranged by Toivo Kuula for his opera. Following the lawlessness of the plains, Kuula's magnificent 'Auringon noustessa' (At Sunrise), based on a poem by V. A. Koskenniemi, offers hope, no matter how challenging the circumstances.

Opera underwent a transformation at the turn of the 20th century. Idealized stories were replaced by unembellished everyday life. Giacomo Puccini's La Bohème represents the new style in its purest form. The story's poor but bohemian artists, defending their freedom, shiver and avoid their landlord in the Latin Quarter of 1830s Paris. In the second act, the square bustles with Christmas festivities. Rodolfo, a writer, and Mimì, a seamstress, are deeply in love. They meet their friends at Café Momus for food and drink, and an inevitable swap of partners. At the end of the story, however, misery takes its toll: Mimì, sick from the cold and deprivation, dies.

The overtures of many operas soon became popular as independent orchestral pieces. One of the most popular is Gioachino Rossini's overture to the opera William Tell—you can even sing it.

Jacques Offenbach's only serious opera remained unfinished. The father of over a hundred comic operas only managed to complete the piano score of Hoffmann's Tales before his death. He recycled the delightful Barcarolle from his 1864 opera The Rhine Maidens, in which it is sung by a choir of fairies. Equally charming and popular is the humming chorus from Puccini's opera Madama Butterfly. Puccini made a change to the original version of the opera, dividing the second act into two separate acts. The humming chorus serves as a bridge between them.

The 80-year-old National Opera Choir concludes its concert with one of the most magnificent choral scenes in opera literature. Richard Wagner's Tannhäuser is a knight and Minnesinger whose death marks the end of the opera. The pilgrims' choir concludes the story by telling how his sins were forgiven.

Text by Hannele Eklund
Translations by the festival team