About Us: Composer Itzam

How do you feel about having your photograph taken?

 

I tend to goof around way too much in pictures - I think in half of my pictures I’m making a duckface. Also, during my exchange year in Salzburg, I photobombed at least some 100 tourists. So. In so many places around the world people have stupid pictures of me.

What interests you most in this project?

 

Juho’s libretto is great. I remember telling him that I loved Waiting for Godot by Beckett, and he somehow delivered me a Finnish version of it. Working with his writing has become very natural to me. I do hope my interpretation doesn’t contradict 100% of what he wanted - although a 60% contradiction is okay with me.

I’m also looking forward to Eljas' solutions to many things. (Spoiler alert!) I honestly wonder how he’s gonna manage to create a Sun inside a dream. 

What would be your worst-case scenario?

The most pressing thing is actually finishing writing the opera! This is my most ambitious piece so far and the schedule is very demanding. My teacher also warned me about my physical and mental health while writing like an insane person.

Worst-case scenario: I pull a “Mozart” and write the overture in the morning of the premiere while carrying a crazy hangover. I’m sure the ensemble would love that.

How do you start a new piece? How did you start this one?

For me every new piece is a different project. I normally have several “tools” of how to write; everything from planning with drawings to improvising is allowed; and this piece was no different. Because of the length of the opera, first I had to estimate the duration of each section of the libretto. So I began with that and all sorts of other boring things, and then I got to the music, voice first. This opera is actually using all my resources as a composer. I've gone from the piano to a program called open music, and to singing in the shower. But no worries, I’ve approximated my shower singing because (not saying I'm out of tune!) my singing can be highly microtonal.

Is there a difference in composing to Milla and Anna-Maija?

 

The characters in the opera are not simple: they both contain a very extended display of emotions - and that pushes me as well as them into showing a wide array of techniques. While there are some differences in their voice, I think the similarities have been more important for me. They could change roles if they wished to, when receiving the final score.

Personally I’m very excited to see how they navigate the score and characters! Milla and Anna-Maija both are multifaceted singers who can do many things. I still remember the first time I heard both singing. Anna-Maija was in a party singing some pop songs; it was our first year in school and she made a very positive impression on me. I met her as a shy woman from the North who suddenly took the stage and became a New York pop star. I heard Milla maybe 4 years later, when she and Kaisamaija Uljas were practicing some renaissance songs. I was shocked and impressed - immediately after I asked if I could write something for them.

..three more months to wait before you can hear the wide array of techniques Itzam's employing. But what does the librettist think about it all?..