DIE KALEWAINEN IN
POCHJOLA
When Karl
Müller-Berghaus composed his opera Die Kalewainen in Pochjola in 1890, I doubt
he guessed that it would be performed for the first time in 2017. But this time
it is correct to say that some things are worth waiting for. Fortunately we are
not talking here about some halfhearted opera that really should have been lost
amongst historical curiosities, but a colourful, strong work that hopefully
will be performed in other occasions, too, and not just as part of Finland’s
centennial. Director Tiina Puumalainen has made a great job with this opera!
De Kalewainen in
Pochjola is full of drama. Wagner’s influence can be heard in the music (and
perhaps seen in the theme, too), but we are definitely not talking about a Ring
copy. The opera has several fine duets and ensembles and the soloists are well
chosen. Johanna Rusanen-Kartano is a real drama queen in her role of Louchi,
the powerful high-born woman. Electronically enforced singing did unfortunately
cause some echo effects a few times, but of course it also helped the singing
to sound powerful. Perhaps Christian Juslin in the role of Achti would have
hoped for a little bit less power, since now the problems he had with his voice
in a few places were far too clear. Fortunately the other singers did not have
such problems.
The costumes and set
of the opera were inspired. With only a few gliding elements the realm of
Pohja, smithy and some other places were created. Pirjo Liiri-Majava’s costumes
were well considered; they were not mothball filled, idealized national
costumes, but works of art with hints to history. Last, but not least, I would like to praise
the lights by Teemu Nurmelin. They emphasized the highlights of the story and I
especially admired how the lights created exciting shadows on the walls of
Logomo.
All in all it was a
magnificent opera that I can absolutely recommend. For those who live in
Finland but still cannot visit Turku, the opera should be visible also in Yle
Areena |
| The stage |
 |
| The performers |
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