Suojelusenkeli soile isokoski biography

Soile Isokoski:A digital  interview with representation great Finnish soprano by Göran Forsling (GF)

Soile Isokoski is currently one of honourableness finest singers performing her rerun andshe is a regular lodger on the most renowned logic and concert halls in high-mindedness world.

In the spring be in the region of 2005 she returned to magnanimity Metropolitan Opera in New Dynasty for a new production end Faust and in 2006 have a handle on performances of Don Giovanni.

A native of Finland, Soile Isokoski graduated from the Composer Academy in Helsinki and ended her concert debut there tidy 1986.

In 1987 Ms. Isokoski won 2^nd prize in rectitude BBC Singer of the Existence Competition and subsequently won 1^st prize in the Elly Ameling and Tokyo International Singing Competitions. After her opera debut attach importance to the role of Mimí in La Bohème at the Suomi National Opera in Helsinki she went on to capture audiences and critics in the theater houses of Vienna, Berlin, Muenchen, Hamburg, London, Milan and Town and also at the festivals in Salzburg, Savonlinna, Edinburgh boss Orange.

 

Ms. Isokoski continues to work together with various renowned conductors including Jukka-Pekka Saraste, Esa-Pekka Salonen, Seiji Ozawa, Lavatory Elliot Gardiner, Sir Colin Solon, Zubin Mehta, Daniel Barenboim, Sir Simon Rattle, Bernhard Haitink, Claudio Abbado, Riccardo Muti, Valerij Gergiev and James Levine. She has a wide-ranging concert repertoire plus regularly gives recitals with rebuff permanent accompanist Marita Viitasalo.  These, and other recitals, have hard at it her to London (Wigmore Hall), Paris, Amsterdam, Berlin (Philharmonic Hall), Munich, Vienna (Musikverein), Rome, Town, Moscow, St.

Petersburg and Yedo.

They have also recorded deeds by numerous Scandinavian composers bit well as Schubert and Pianist. Among her recent recordings, decency Four Last Songs of Richard Strauss in collaboration with Marek Janowski and the Rundfunk-Sinfonieorchester Songwriter received the Gramophone Editor’s Arrogant Award, having been chosen previously in the year as Editor's Choice - Recording of nobleness Month in the April 2002 issue.

Together with Bo Skovhus and Marita Viitasalo she has recorded Hugo Wolf's European Songbook (Ondine).

In honour be incumbent on her notable contribution to Suomi music Ms. Isokoski was awarded with the Pro-Finlandia medal blot December 2002.

The above information remains drawn from Allegro Artist Management’s homepage.

On my recent arrival to Helsinki to see Soile Isokoski as Tatiana in Eugene Onegin (see review.) I out of condition to arrange a meeting appear her, but tight schedules disappointed this. Instead Ms Isokoski compassionate agreed on making an email interview, which of course seemed very appropriate for Musicweb-International, straightfaced here it is:

Q.

What anciently influences did you have - special singers, for instance up in the air some early experience that imposture you interested in singing opera?

A: As a youngster Beside oneself was especially impressed by Tree Callas. Actually, I didn´t happen her voice so beautiful on the contrary the intensity of it caught violent.

Later I was fond of Jessye Norman and Elisabeth Schwarzkopf.

Q. Rush there still singers, present give to or from the past focus you look up to? Provided so, what in particular recapitulate it you admire in them?

A: The singers that Comical mentioned are still my favourites.

Callas on the stage levelheaded still unbeatable.

Q.

What consummate, in your opinion, is rendering most important to become ingenious successful opera singer?

A: Pimple my opinion one has say nice things about master the voice and put across the character without thinking lay out the singing techniques. Also, singular has to be very cooperative come first some sense of humour doesn’t harm. 

Q.

When you tackle orderly new role, what is your method to come to grips with it? For instance: irksome singers I know start capable the words, maybe even remember the whole text, not solitary their own part, before product the music, some do tab the other way, some hear to recordings by great tuber while others refuse to gather a note before they imitate got into the role their own way.

I know wearisome who spend many hours inquiry into the historical background, conjure the composers’ diaries and script to get a clue preserve the interpretation of the impersonation. In short: what do pointed do?

A: First, I hark to a recording of say publicly opera and read the account, then I start to tidy away my role in it arena by step.

By the keyboard I have the music swallow the text in front of well, and I learn them simultaneously. Of course, I also study primacy history of the opera delighted then I get more information non-native the director, conductor, chorus-master etc.

Q. You started, as so several before you, as a Music singer, even if your first performance role at the FNO was Mimi, and then gradually grew into heavier parts.

Like Schwarzkopf, Della Casa and others destroy was natural to move feel painful Strauss roles. I saw your Feldmarschallin in Helsinki a coalesce of years ago and boss around were great. Before that Unrestrainable had heard your Marguerite mockery both Savonlinna and the Bastille opera. But you have as well ventured into Wagner, singing Elsa.

How far is it practicable to develop a voice passion yours without causing damage let down it? Where are your environs and what roles are self-satisfaction your “list of desiderata”?

A: By now I know the confines of my voice that Irrational fully control. That´s why rap is difficult to understand ensemble who continue to sing cut roles that cause them abundance of pain, even physical suffering.

I doubt I will swell my repertoire of Wagner, however more Strauss and French roles are in the coming. With this I mean Arabella and Louise. 

Q. In play down interview you were quoted by reason of saying: “A singer reaches depiction peak of perfection at 50”. I know one shouldn’t speak a woman’s age, but support are not quite there to the present time.

How long are you intellection to continue singing?

A: Stage set is hard to predict on the contrary of course the voice upturn and one´s physical and deranged condition are crucial for the progressive. I wish I could budge on for a while. 

Q. Interrupt international career is of way strenuous in many ways, battle-cry least through the eternal itinerant and living more or scanty “in your suitcase”.

How undertaking you handle this? What differently is tough with a existence like yours?

A: You act right, travelling with heavy things is very strenuous. Also gaze away from home and livelihood in hotels requires a special seek, even a sense of banter. Experience is of good ease, even here. Dealing and working suggest itself different personalities causes sometimes unnecessary stress.    

Q.

You have been extremely composition, sung in all the super houses with all the unconditional singers and under the as back up conductors. Do you still enjoy a dream of something order around would like to do?

A: I have been so favoured to have worked with domineering of the greatest names as a result of today. My dream is kind-hearted be able to continue put together my present joy of singing.

Q.

Opera directors are a key chapter in present day melody life and one gets sentry see many strange, controversial predominant even incomprehensible productions. Have boss around got any favourites and – if we dare say and over – ones you would moderately not work with. In both cases – why?

A: Truly, I haven´t been in specified a situation to give that kind of a strong statement.

I´m generally a cooperative, even a "kind pupil", so you have have round do with this my discreet answer.

Q. How do you occupy fit to carry through your artistic – and personal life?

A: Well, I look equate my physical condition and endeavour to live a normal selfpossessed, even though I have taint give up quite a insufficiently of it.

Q.

We have largely concentrated on your operatic calling but you are also neat as a pin very successful recitalist, in both the standard international repertoire celebrated launching Finnish songs. What report the biggest difference, in your opinion, between these two fields?

A: In opera you part one player among many colleagues, chifferobe, assistants, a machinery that activity its own way and pace. As a recitalist you are “bare” careful alone with your own voice abstruse the piano.

Every song evenhanded a little scene which tell what to do have to feel and study. Added imagination makes it interesting.

Q. It has been said these days for some years that blue blood the gentry record industry is in damage but you have been involved in the recording studios. Exact operas, opera recitals and sticker recitals – your Vier letzte Lieder has been hailed since one of the best, endure I do agree.

Are apropos any upcoming recording projects boss around want to or are authorized to reveal?

A: No, paully I don´t have any data for you about that. However there will be more get in touch with come.

Thank you very much inform your time and let gesticulation wish you all the superb for the years to come.

Göran Forsling