Even though
I am not the greatest fan of modern opera, I do, of course, go and see them
when possible and sometimes, thanks to such a policy, you see operas that are
really worth seeing and hearing. Heinz-Juhani Hofmann’s opera “The Human Heart”
is one such opera. It is a tough experience and it makes you think.
“The Human
Heart” is a monologue opera, which tells about pedophilia: the act itself and
its consequences. The spectator can see in front of him/herself a child, her
broken self, the abuse and what happens afterwards. I honestly cannot recommend
this opera to very sensitive people despite the importance of the theme.
The heart
of “The Human Heart” is the singer Jutta Seppinen. Or perhaps a singer is a too
restrictive word to use in this case. She talked, sang, danced, moved,
performed; she was the middle point of everything, there were on the stage in
addition to her only two music stands, a container of water and the lights by
light technician Jukka Kolimaa. Seppinen’s natural speech and singing were
joined together with her speech and singing coming from a tape. You can easily
say that this work would not be without the magnificent Jutta Seppinen. Though,
you as easily say that it also would not be without Petri Kekoni
(direction/choreography) and sound technician Anders Pohjola. This group of
people had together created a superb performance.
When the
opera started, for a while I was flabbergasted. It felt as if the work started
somewhere in the middle: quick-paced repetition of words and a hypnotic rhythm were
totally disconnected. But the further the opera progressed, the more it sucked
the spectators into the story and the clearer the connections between the
disconnected mantras of the first few minutes to the story became. When in the
end of the opera Seppinen successively played first the abuser and then the
child, I think not a single one of the spectators could remain indifferent. The scene was unbelievably horrible, cruel, but
incredibly impressive. It made you silent.
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