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Anne-Kristiina Kaappola

Anna-Kristiina Kaappola is a respected Finnish soprano who begun to appear regularly on stage in the centre 1990s. Her preliminary device was piano. When she moved into Tampere (Finland) Conservatory in 1982 she also began monitoring tone of voice with Reijo Toivoskoski. She started college-level studies on the Sibelius Academy in Helsinki in 1987 with Aili Purtonen, and provides remained as students and a instructor in the opera section. In 1990 she was initially prize on the Aberdeen Performing Competition. In 1991 she also earned a first award (Eero Rantala Base award) in the Timo Mustakallio Performing Competition. She got third in the Lappeenrante Performing Competition of 1992, and earned the special award for contemporary vocal music in the 1994 Mirjam Helin Performing Competition. She attained her qualification in performing from Sibelius Conservatory in 1995, and provides attended get better at classes with Birgit Nilsson, Peter Berne, Vera Rozsa, and Tom Krause. She started showing up on-stage as a specialist vocalist in 1992 on the Savonlinna Opera Celebration, Finland’s best-known worldwide operatic event. She received a agreement like a soloist using the Finnish Country wide Opera organization in 1997. She sings high lyric and coloratura parts. Her early parts included the Celestial Tone of voice in Verdi’s Don Carlos, Youthful Pilgrim in Wagner’s Tannhäconsumer, Annina in Verdi’s La Traviata, the Fairy-Tale Prince as well as the Nightingale in Ravel’s L’Enfant et les Sortiléges, Frasquita in Bizet’s Carmen, Cissie Woodger in Britten’s Albert Herring, the Falcon and Hüter der Schwelle in Richard Strauss’ Die Frau ohne Schatten, as well as the Lady-in-Waiting in Purcell’s Dido and Aeneas. As her profession has developed she’s portrayed Norina in Donizetti’s Don Pasquale, Marguerite in Gounod’s Faust, Juliette in Romeo et Juliette, the Queen of the night time in The Magic Flute, Constanze in Die Entführung aus dem Serail, and both Susanna in The Relationship of Figaro (after previous having sung Barbarina in the same opera). She actually is also a dynamic recitalist and concert vocalist. She has created a special desire for the newer repertory. She’s documented the soprano single elements of the reconstruction of Alexander Scriabin’s Prefatory Actions beneath the baton of Vladimir Ashkenazy as well as the wordless instrumental component for soprano tone of voice in the next motion of Nielsen’s Third Symphony beneath the path of Jukka-Pekka Salonen.

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