ArtistsJuha Kotilainen, baritone Juha Kotilainen,baritone, studied singing with Olavi Hautsalo and Matti Tuloisela at the Sibelius-Academy.He received his voice diploma in 1985 and has studied further at courses given by Thomas Hampson and Peter Berne in Austria. Juha Kotilainen made his debut at the Finnish National Opera as Dandini in Rossini's La Cenerentola in 1986,and he has sung several roles at the FNO since then,including Count Almaviva(The Marriage of Figaro),Jussi(Leevi Madetoja's Pohjalaisia/The Ostrobotnians),Marcello(La Boheme),Mamoud in John Adam's opera Klinghoffer's Death,Gunther in Wagner's Götterdämmerung,Mandryka(Arabella),Il Barone de Trombonok in Rossini's opera Il Viaggio a reims,(Count Tomsky(The Queen of theSpades),Faninal(Rosenkavalier)etc. In 1990's Juha Kotilainen was engaged at the AaltoTheater in Essen,where his roles included for ex. the title roles of Tchaikovsky's Eugene Onegin and Bartok's Duke Bluebeard.
Juha Kotilainen opiskeli laulua Sibelius-Akatemiassa Olavi Hautsalon ja Matti Tuloiselan johdolla. Hän on täydentänyt opintojaan mm. Thomas Hampsonin ja Peter Bernen mestarikursseilla. Kotilainen on vieraillut säännöllisesti Suomen Kansallisoopperassa vuodesta 1986, jolloin hän debytoi Dandinin roolissa Rossinin La Cenerentola -oopperassa. Kotilainen on vieraillut laajalti oopperataloissa eri puolilla Eurooppaa mm. Belgiassa, Hollannissa, Saksassa, Ranskassa ja Espanjassa. 2000 kantaesitettiin Brysselin Théàtre Royal de la Monnaiessa Philippe Boesmansin ooppera Wintermärchen, jossa Juha Kotilainen lauloi Antigonuksen roolin. Juha Kotilaisen viimeaikaisimmat kantaesitysproduktiot ovat olleet Jani Sivénin ooppera Abelard & Heloise (2008) ja Timo-Juhani Kyllösen Kuninkaiden kirja (2009), Ilkka Kuusiston Taipaleenjoki (2010-12) ja Markus Fageruddin Välilasku (2012). Juha Kotilaisen ohjelmistoon kuuluu olennaisesti myös muu laulumusiikki liedistä nykysäveltäjien teoksiin, sekä basso-baritoni-osat suurissa kirkkomusiikkiteoksissa. Kotilainen on esittänyt lukemattomia kertoja mm. Bachin Matteus-passiota, Johannes-passiota ja h-mollimessua. Niitä ja Haydnin Luomista hän on laulanut myös Peter Schreierin johdolla, h-molli-messua Harry Christophersin johdolla ja esiintynyt oratoriosolistina Esa-Pekka Salosen johdolla. Helsingin kaupunginorkesterin solistina Kotilainen on laulanut mm. Orffin Carmina Buranassa, Berliozin oratoriossa Kristuksen lapsuus ja Beethovenin 9. sinfoniassa. Kotilainen on laulanut Jukka-Pekka Sarasteen johdolla Schönbergin Gurre-laulujen Bauerin roolin (Helsingin juhlaviikot 2001) ja Haydnin Luomisen basso-baritoniosat (Sinfonia Lahti 2002) ja Bachin h-molli messun (Sinfonia Lahti 2005) Helmut Rillingin johdolla sekä suuren baritoniosan Luciano Berion viimeiseksi jääneessä orkesterisävellyksessä Stanze Helsingin Musica Novassa 2004. Vuosina 2006-09 Kotilainen on laulanut Schubertin Winterreisea mm. Tokiossa sekä esiintyi useilla eurooppalaisilla festivaaleissa mm. Alankomaissa, Itävallassa ja Italiassa. Keväällä 2012 Kotilainen lauloi Olli Mustosen ensimmäisen Sinfonian kantaesityksen baritoniosuuden Tampere Filharmonian ja Moskovan Tschaikovsky Sinfoniaorkesterin solistina. Mika Nisula, tenori Mika Nisula (synt.1978) on kohonnut lyhyessä ajassa lupaavavimmaksi nuoreksi suomalaiseksi tenoriksi. Teuvalla syntynyt Nisula opiskeli laulua vuosina 2000-2005 Panula-opistossa ja vuoden 2005 syksystä lähtien Etelä-Pohjanmaan opistossa Seinäjoella. Hänen opettajanaan on toiminut koko ajan puolalaissyntyinen baritoni Romuald Podlesny. Hän on myös säännöllisesti osallistunut prof. Ryszard Karczykowskin mestarikursseille vuodesta 2004 lähtien. Fanfare Magazine 6/2012 : LISZT Petrarch Sonnets. Bist du! Du bist wie eine Blume. Ich liebe dich. Es muß ein Wunderbares sein. SCHUMANN Dichterliebe • Mika Nisula (tenor); Jouni Somero (pn) • FC 9734 (74:58) Put this CD on, and if within 30 seconds you’re not saying to yourself, “Holy cow! what a voice!,” there’s something seriously wrong with your hearing. If, within three minutes, you’re not further saying to yourself, “Damn, can this guy phrase, and interpret, and just listen to that vocal control, the way he colors his tones!,” you need to put this magazine down and go read Hot Rods or Ladies’ Home Journal. It is so very rare that I have the pleasure of discovering and announcing a truly major talent, but Mika Nisula is one of those. This is, without question, one of the biggest, darkest tenor voices you’ll ever hear singing Lieder in your life. He sounds like a young Jon Vickers, but a young Vickers with a sweeter timbre and even greater control of his resources. Nisula gets into the heart of his lyrics in a way that one associates only with the very greatest Lieder singers, such as Fischer-Dieskau, Hotter, Schiøtz, Pears, and Tauber (yes, that Tauber), and from the standpoint of both vocal resources and control of the voice, he can outsing them all. His performances of the Liszt Lieder are virtually perfect, marred only by the merest hint of a flutter in the soft sustained notes of “Es muß ein Wunderbares sein,” surely one of the composer’s most beautiful and poetic songs. But the acid test is, was, and always will be, the Dichterliebe, particularly as he is facing down such legends as Schiøtz, Souzay (1956, with Cortot), and Fischer-Dieskau, not to mention Thomas Hampson and his family-sized Dichterliebe with 20 songs instead of the usual 16. I’m not terribly fond of Nisula’s slow tempos, which to me sound dangerously close to ponderous, particularly as all the other singers find poetry in it at quicker speeds. He also, oddly, takes long pauses between the first four songs, which are traditionally sung as a group with only short luftpausen between them. But he does a very fine job on many of the songs, though not all. When he reaches “Ich grolle nicht,” which is only really halfway through, he begins to have interpretive problems, and these also show themselves in some of the later songs as well. Souzay or Hampson would be my recommendation for a first choice (if you can find the Souzay, which currently appears to be out of print). I am upset by the lack of song texts as well. Dichterliebe is well enough known by the majority of collectors that it might not matter so much, but the Liszt songs are not that well known or oft-recorded. Naturally, in a Lieder recital this good, a large portion of the praise must also go to the accompanist. Jouni Somero is an unusual accompanist for our modern era, a player with a rich, full, deep-in-the-keys style that gives full support to Nisula both musically and tonally, complementing his unusually rich voice with wonderful sensitivity. This is an auspicious first hearing, for me, of this remarkably talented tenor. Lynn René Bayley Lisätietoja ja esiintymiset: www.finnconcert.fi |
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