Before you became the artistic director of the Finnish National Opera in Helsinki, you were a popular international mezzosoprano. What is it that excites you about working with young singers?

Lilli Paasikivi: The goal of an Opera Studio is to give young singers valuable insights into the life of an opera soloist, to provide them with the necessary tools and help them start their careers. I have always been supported by my colleagues and had several mentors; and, therefore, I know how important it is for young singers to have experienced people around them, who love to share their knowledge.

As a singer, I participated in a lot of castings and competitions. But as artistic director of the Finish National Opera I have also seen the other side of the casting process and I was a member of the jury of many competitions. So, I know what this job requires. I also want to help young singers build the best version of themselves to conquer the challenges of casting.

You will direct the Opera Studio in Bregenz together with Jaako Kortekangas, the new head of the artistic department of the Bregenzer Festspiele and former casting director of the Finish National Opera.

Jaako is a singer too, an internationally recognized baritone with a huge opera repertoire. We can look back on a long professional relationship – almost 40 years, not only on stage but also in artistic administration. Jaako and I have already shared the stage multiple times – and in La Cenerentola too. I played Angelina and he played Dandini.

What will young singers learn in the masterclass of the Opera Studio?

I really look forward to working on La Cenerentola with the young singers of the Opera Studio and help them build their roles in such a way that they remain faithful to themselves and the story. As a singer, you are always surrounded by a lot of people: répétiteurs or répétiteuses, conductors, directors and many, many colleagues. All of them confront you with a ton of information. If you want to become an artist with your own personality and integrity, you have to learn how to recognize your own strengths and to believe in yourself. And you have to learn who you can trust throughout your development: what’s genuinely good advice and what’s best ignored.

When you cast candidates for the Opera Studio, what qualities are you looking for?

We start by choosing an opera that is suited for young singers and offers them a lot of learning opportunities. Then, we start casting for the roles. The singers should be well prepared and confident enough to fully express themselves during the rehearsals.

And Amy Lane, the director of La Cenerentola, also has preferences when it comes to the cast: We already had some good conversations about the different characters and about how we can create an exciting environment during the rehearsals. All in all, working with young singers is inspiring and rewarding: I am really looking forward to this exciting time in March 2025.