info at

Forthcoming Releases/tulevia julkaisuja


Jouni Somero plays Schumann
Arabeske op.18 Carnaval op.9 Etudes Symphoniques op.13
AVAILABLE NOW( digital Spotify etc) Order


Jouni Somero piano
AVAILABLE NOW (digital Spotify etc. 4.12.2020)


Sonata No.3 op.5 Händel Variations op.24
Jouni Somero piano


Eilamaria Leskinen sopraano Jouni Somero piano


Brahms:3 Intermezzi op.117 Rachmaninov: Sonata No.1 d-moll op.28
DIGITAL 20.9.2019

Bach to You

Jouni Somero, piano


Jouni Somero, piano
AVAILABLE NOW (digital 4.1.2019)


Sergei Bortkiewicz: Piano Works vol.1-4
In general, the Finnish pianist Jouni Somero plays the music more deliberately than Trapmann, which usually translates to slower tempi. Somero seems more in touch with the spirit of the composer; he never drags, but finds enough space to let the music bloom. He uses a wider dynamic range and seems more intereted in exploring the colors of the instrument. Trapmann, whom I praised in my review of his set, now sounds a bit glip in comparison, as if he is reading though the music in order to complete the set. Somero does the music greater justice, compelling the listener to want to hear more. Fanfare Magazin USA Jan/Feb. 2011


Sound quality is very good, though in Volume 2, the piano does sound slightly laboured. The CD booklets are decidedly pro forma. Those able to read Somero's Finnish original do get more information for their money - the Finnish provides extra biographical paragraphs and a cursory description of the works in Somero's programme. There are typos in the English version that occur in both volumes - for example, one instance in which the composer's name is spelt 'Bortkiwicz'.

For anyone who relishes unforgettable melodies harmonised with imagination in superbly crafted, often profound miniatures, these two volumes are unmissable. This promises to be a marvellous series. Musicweb International 11/2011

Read more:

All three works in Somero's recital are superbly lyrical, with individual pieces characterised, almost without exception, by unforgettable melody, delectable harmony and irrepressible rhythms sensuously swathed in a mellifluous timelessness, with the well-judged contrastive flourish or outburst of scintillating virtuosity and dramatic intensity. Grieg, Schumann, Liszt, Alkan and early Skriabin are all sometimes brought to mind, but on this disc it is Chopin's spirit that dwells again in Bortkiewicz - whose originality is, nevertheless, unimpeachable.

On the whole, though, this makes five out of five quality discs, all of which have much pleasure and interest to offer pianophiles in particular and music-lovers in general. This latest gem-studded volume itself verges on the indispensable. Musicweb International 12/2011

Read more:

Vol.1 & 5;

While Lamentations et Consolations has been recorded before by Stephen Coombs on Hyperion, it appears the other works on the current disc aren?t currently available, making this a significant release. That?s especially true since Finnish pianist Jouni Somero, a student of György Cziffra, has Bortkiewicz?s late-Romantic pianistic lexicon at his fingertips. Somero is a fine colorist and, being a Cziffra student, can do full justice to the Lisztian strain so prominent in Bortkiewicz?s early style, including, of course, the explosive virtuosic turns here and there in this collection.

It?s very appealing that Volume 1 includes works from early and late in Bortkiewicz?s career. Presumably, future installments will follow the same course. With a varied program, superior pianism, and natural piano sound, this first volume bodes well for the rest of the series. Stay tuned!
Audiophile Audition 10.3.2012 Read more:

An Anthology of Finnish Piano Music Vol.1-5 Rewie in Music web international 11/2011:

"A generous and adventurous cross-section of Finnish piano music in elite versions and healthy open recordings."

Read more:

Rebikov: Piano Works Rewie in MusicWeb international 4/12 "Finnish pianist Jouni
Somero is a pianistic powerhouse. He vies in multifarious enthusiasm for neglected composers with the likes of Michael Ponti in his Vox piano concerto series in the 1970s. He has already given us five volumes of Finnish piano music, a series of eight volumes of Bortkiewicz as well as single disc selections by Godard and many others. This is the fifth disc in his Russian Project. Previous instalments were: FCRCD-9720 Tchaikovsky 1; FCRCD-9724 Arensky; FCRCD-9728 Tchaikovsky 2; FCRCD-9732 Rubinstein"
Read more:

Salmenhaara: Piano Chamber
Music: "Very nice, Romantic sounding and easy to listen to" Read more:


                      Juha 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.
 Kotilainen has visited many opera houses in Europe such as Theatre Royal de la Monnaie in Brussels, Opera Lyon, De Nederlandse Opera in Amsterdam,Chatelet in Paris,Liceu in Barcelona,Bolshoi in Mosckow,Grande Manuell Falla Opera in Cadiz etc. Kotilainen has sung also several times in Savonlinna Opera Festival.He viseted 2004 in Dalhalla Opera Festival as Alfio in Cavalleria Rusticana.He has worked with many opera conducters as for ex. Leif Segerstam, Ulf Söderblom, Mikko Franc,Pietro Rizzo, Antonio Pappano,Kazuzi Ono and Muhai Tang. Juha Kotilainen has premiered a number of Finnish new operas by Eino-Juhani Rautavaara and Aulis Sallinen.During last years Kotilainen has premiered new operas by Olli Kortekangas' Isän tyttö(Savonlinna Opera Festival 2007,FNO 2009), Timo-Juhani Kyllönen's El libro de los Reyes(Cadiz 2007 and Esbo -09), Jani Siven's Abelard&Heloise(Esbo 2008),Ilkka Kuusisto's Taipleenjoki(Ilmajoki Music Festival 2010-12) Mikko Heiniö's Kung Erik
XIV(Åbo2011) and Markus Fagerud's Una espera inesperada(2012 Musictheater Kapsäkki Helsinki) 
Juha Kotilainen's repertoire also includes solo songs,from classical Lied to contemporary works.He has appeared in Bach's Matthew Passion,St.John Passion(also as semi-staged in FNO) and Haydn's Creation and Jahrezeiten several times under Peter Schreier,in Bach's B minor Mass under Harry Christophers and Helmut Rilling and as an oratorio soloist under Esa-Pekka Salonen and many othersLast engagements with the Finnish Radio Symphony Orchestra:Psalmus by Uuno Klami and Jahrezeiten by Haydn.With the Helsinki Philharmonic: Schönberg's Gurre-Lieder and Luciano Berio's Stanze scored for baritone in Musica Nova Festival.During 2006-2011 Kotilainen has sung Schubert's Winterreise for ex. in Japan and Schumann's Dichterliebe in Germany,Schottland and in South-America in Peru. 2012 Kotilainen sang Olli Mustonen's 1.sinfonia baritone part with Tampere Philharmonic(world premiär) and  with Moscow Tchaikovsky Symphony Orchestra.


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. 
Vuosina 1992-97 Juha Kotilainen oli kiinnitettynä Essenin Aalto-teatteriin.
Kotilainen on vieraillut useita kertoja myös Savonlinnan oopperajuhlilla, mm. Alfiona Mascagnin Cavalleria rusticanassa ja nimiroolissa Einojuhani Rautavaaran oopperassa Aleksis Kivi (1998). Kesinä 2001-02 Kotilaista kuultiin oopperajuhlien tilausproduktiossa Aika ja uni ja 2004 hän palasi Savonlinnaan Alfiona. Vuosina 2005 ja 2006 Kotilainen teki oopperajuhlilla Sallisen Ratsumiehen Matti Puikkasen roolin.  2007 Juha Kotilainen lauloi Axelin roolin Olli Kortekankaan Isän tyttö -oopperan kantaesityksessä ja vieraili roolissa myös Suomen kansallisoopperassa 2009.

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. 
Nisula on saavuttanut menestystä useissa kotimaisissa laulukilpailuissa. Näistä mainittakoon 3. sija Kangasniemen laulukilpailuissa ja Jyväskylän kansainvälisissä tenorikilpailuissa, 2. sija Lohjan tenorikilpailuissa; nämä kaikki vuonna 2005. Seuraavana vuonna hän voitti Timo Mustakallio-laulukilpailun Savonlinnassa. Kansainvälisistä sijoituksista mainittakoon finaalipaikka Stanislaw Moniutzko-laulukilpailuissa Varsovassa 2007.
Lappeenrannan valtakunnalisissa laulukilpailuissa 2010 Nisula sai toisen palkinnon.
Marraskuussa 2011 Nisula sai toisen palkinnon kansainvälisissä  Altamura/Caruso laulukilpailussa New-Yorkissa.
Nisula on esiintynyt omin konsertein sekä orkesterisolistina eri puolilla Suomea, Puolassa ja Ranskassa.
Kesällä 2008 Nisula piti Jouni Someron kanssa soolokonsertin Savonlinnan Oopperajuhlilla. Itä-Savo otsikoi konsertin arvostelun "Tenorivelho valloitti Savonlinna-salissa" 
Kaudella 2008/2009 Nisula debytoi Tampereella Mozartin Don Giovannissa (Don Ottavio) sekä Vaasassa Offenbachin Orfeus Manalassa (Orfeus).
Tuleviin ooperarooleihin kuuluvat mm. Lenski (Evgeni Onegin) Alfredo (La Traviata) ja Rodolfo ( La Boheme) 
Mika Nisula on julkaissut Jouni Someron kanssa neljä levyä: Storia D'amore (FCRCD-9721) Armolaulu (FCRCD-9725) Taas kaikki kauniit muistot (FCRCD-9726) ja Schumann&Liszt Lieder (FCRCD-9735)  Levyt ovat keränneet hyvin positiivisiä arvioita.

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: