About my tendency in opera

IT is now the karma-time for the universe

 

General information about his present tendency in music, especially about opera and writing:

Jani Kääriä has written libretto and composing his new opera about Tutankhamun. The work is dedicated to the following ancient Egyptian gods: Amun, Khonsu, Horus, Osiris, Seth, Re, Ra, Amun-Re, Khepri, Atum, Isis, Nepthys, Mut and Bes.  Jani Kääriä
has previously composed Octavio Paz's texts, but is now moving closer to ancient Egyptian spiritual lyrics, such as the spells from the Egyptian book of the dead and Papyrus of Ani.
He has studied the ancient Egyptian gods, which are magical in nature. This means that he wants to compose music of the spells he has read, and write lyrics for his own operas, which express a more magical time than before in history.
He writes now himself because he is looking for a special more magical musical form, and he has come to a conclusion that for him such texts operatically exactly doesn't exist before this, where would be possible to work with the thought; operatically, softly enough, rich with nuances yet outringing.
He also sees that it is evident to study first the magical gods. He does so, because he is a little bored to non- magical texts in his own compositional work; and he sees, that the ancient Egyptian religion is sophisticated and lyrical, and give far better wings to work with musical form now. He wants to work more narrative way in opera about magic and spiritual tendencys. Yet- he wants to remain in a most funny and natural expression, so that he can start his lyrics from almost everyday impulse.
He also sees, that his own compositional system, about which is more information at the very end of this homepage, serves this purpose. The economy in his technical fluency concearning different emphasis in style namely call for the existance of his stories. This means that the connection of these two things remains very compact.
He also studies instruments that were done during Tut-ankh-Amun's reign.

 

The following texts in finnish and in english:

 

Miksi minusta Book of the Dead on hyvä ja vielä lukemisen arvoinen ja säveltämisen arvoinen ja esimerkki kirjoittamiseen

 

Monijumalaisuudessaan muinaisen egyptin uskonto on itsetuntoinen, melkein poliittinen uskonto joka käsittää koko yhteiskunnan. Mikään ei ole nopeasti kielletty, ja niin kauan kun pidät oman tasapainosi auringon, hyvän ja pahan ja kuolemanjälkeisen elämän kanssa, menestyt elämässä. Book of the Dead opettaa esimerkein miten saavuttaa korkeampi henkinen, spiritistinen tietoisuus. Pahasta puhutaan paljon, ja miten välttää se. Mutta sitä, mikä on pahaa, ei ole määritelty kovin tarkasti. Se on enemmän subjektiivinen asia. Luottamalla että itse olet vastuussa omasta hyvinvoinnistasi tekemällä oikeat teot, luottamalla että Osiris hallitsee tuonelaa sen jälkeen kun hänen veljensä Seth on tappanut hänet, on voimakas kuvainnollinen asia hyvän ja pahan määrittelyssä jokapäiväisessä elämässä. Muinaisegyptiläiset asettivat itsensä uhrin, Osiriksen rooliin kuvainnollisesti mikä tekee tästä uskonnosta epäitsekkään ja antaa siivet syvälliselle ajattelulle, lyyriselle sisällölle, oikeudelle ymmärtää alamaailmaa ja jumalien moninaisuudelle. On jumala joka tarkoitukseen. Seth, murhaaja, ei ole suosittu alamaailmassa, vaikkakin jotkut faraot ovat käyttäneet hänenkin auktoriteettiaan.

Faraon valta perustuu siihen että hän on Horus, isänsä Osiriksen kunniaanpalauttaja joka voi kanavoida kaiken spiritistisen, henkisen viisauden nuoressa, tuoreessa toiminnassa. Kuka tahansa egyptiläisessä uskonnossa voi tavoitella tämänkaltaista olotilaa kirjoittamalla omia loitsuja.

Mikä tekee tästä uskonnosta kiehtovan on miten loputon syvällinen jumalten pohdinta ja tekosi suhteessa niihin voi taata sinulle hyvän kuolemanjälkeisen elämän, ikuisuuden, ja sama mielentila pätee elämässä. Minusta tämä on rauhallinen uskonto joka voi kohdata pahan suoraan ilman että se haavoittaa sinua. Jotkut pidemmät loitsut kuvaavat väkivaltaa tapahtuvan paljon mutta kirjoittaja ei voi sille mitään ja pyrkii olemaan se, joka ei joudu sen uhriksi tietämällä sen tarkkaan. Eihän muinainen Egypti ollut demokratia. Auringon tuli kuitenkin polttaa vihollisen puolestasi. Suurin osa loitsuista on itseuskoa rakentavia, rauhallisia kirjoituksia.

Tieto on valtaa tässä uskonnossa, joten sitä voi verrata nykypäivään. Tarvitaanko uskontoa näinä päivinä? Ainakin tämä antaa pehmeän ymmärrettävän vaihtoehdon kristinuskolle ja Islamille mitkä ovat ehkä tuomitsevampia. Miten voi samastua uskontoon jolla ei ole funktiota nykypäivässä? Se on silti osa ihmiskunnan historiaa joka on määrittänyt monia asioita kehityksessä ja on jossain siellä pohjalla. Ehkä pohtimalla evoluutiota ja pitämällä tämän välkehtivänä ajatuksena etäältä.

 

Muinaisegyptin uskonto kustannettiin sellaisena kun se on ollut kokonaisuudessaan  muinaisegyptissä ensimmäisen kerran englanniksi 1994-1998.( Suomeksi lyhyt käännös vuonna 2001 Jaana Toivari-Viitalan tekemänä, josta valitettavasti puuttuvat KAIKKI tärkeimmät loitsut. Juuri ne, jotka on kirjoitettu Imothepin, Thutmosis 3:n, Amenofis 2:n 3:n, Tutankhamunin, Seti 1:n, Seti 2:n Ramses 2:n, Ramses 3:n Ramses 4:n, Ramses 5:n aikoina, ja tietysti myös Akhenatenin aten aurinkolevy kirjoitukset. Ei aten kirjoituksia kyllä ole myöskään englanninkielisessä versiossa. Minä ehkä sisällyttäisin nekin kirjaan. Itse asiassa olen kaavaillut jonain päivänä tekeväni koonnin tietämistäni teksteistä kirjaksi nimellä: ¨Anything brakes¨.  Sitä ennen se on ollut 2000 vuotta unohduksissa koska hieroglyfejä ei ole osattu kääntää.

 

Why do I think that the Book of the Dead is good and still worth reading and worth composing and example of writing

 

With it's many gods the ancient Egyptian religion is self-confident almost political religion that covers the whole society. Nothing is forbidden fast, and as long as you keep your own balance with the sun, good and bad and afterlife, you will succeed in life. The Book of the Dead teaches with examples how to a reach higher spiritual conciousness. Evil is spoken a lot, and how to avoid it. But what exactly is evil, is not very clearly determined. It's a more subjective matter. By trusting that you are yourself responsible of your wellbeing by doing the right deeds, trusting to Osiris to rule the underworld after his brother Seth has killed him has a strong figurative role in determining good and bad in everyday life. The ancient Egyptians placed themselves in the role of a victim, Osiris, figuratively which makes this religion unselfish and give wings to deep thinking, lyrical essence, right to realize about the underworld, and variety of gods. There's a god for every purpose. Seth, the murderer is not favoured in the afterlife, although some pharaohs have used his authority also.

Pharaoh's power is based to the fact that he is Horus, the vindicator of his father Osiris who can channel all the spiritual wisdom in young, fresh action. Anyone in the egyptian religion can pursue that kind of state of mind by writing their own spells.

What makes this religion fashinating is how the endless deeper considering of gods and your deeds in relation to those, can guarantee you a good afterlife, etrnity, and the same state of mind applies in life.

I think it's a peaceful religion that can face evil directly without it harming you. Some longer spells depict violence happening a lot but the writer can't do anything about that and tries to be the one who it doesn't harm by knowing it precicely. Afterall, ancient Egypt was not a democracy. The sun's fire anyway burns the enemy for you. Most of the spells are selftrust building, peaceful writings.

Knowledge is strenght in this religion, so you can compare it with modern day. Does one need a religion in these days? At least this gives a soft, sensible alternative to christianity and Islam which are perhaps , more condemning. How can one identify oneself with a religion that has no function today then? It's still part of mankind's history that has determined many things in development and is somewhere there as a base. Perhaps by considering evolution and by keeping this as a glimmering thought from the distance.

 

The anceint Egyptian religion was first published as it was in it's entirety in the ancient Egypt, in 1994-1998. Before that, it was lost for 2000 years due not understanding the hieroglyphs. I have remembered exactly which spells have been written in the reigns of Imothep, Thutmosis 3rd, Amenofis 2nd and 3rd, and Tutankhamun, Ramses 2nd, 3rd, 4th and 5th,and Seti 1, Seti 2. And I'd like one day to publish my own version of these spells indicating in which reigns they were written, with a NEW Name, called: ¨Anything brakes¨. A fact that nobody else might not easily remember. Also, somebody should publish Akhenaten's aten writings into a book.

 

Tutankhamun oopperassa

 

Olen hyvin kiinnostunut Tutankhamunin hallinnosta muinaisegyptissä. Mielestäni hän on aliarvostettu historiassa ja ihmiset yleensä ajattelevat että hän on kuuluisa vaan koska hänen hautansa löydettiin koskemattomana v. 1922. Ajatellaan, että hän oli johdatuksassa kun hän palautti vanhojen jumalien vallan sen jälkeen kun hänen isänsä Akhenaten jätti maan pahaan jamaan hylkäämällä Egyptin vanhat jumalat ja korvaamalla ne vain aurinkolevy-jumalalla, Atenilla. Jotkut ihmiset ajattelevat että Tutankhamun oli vain typerä poika joka murhattiin. Kuitenkin, Tutankhamun itseasiassa oli vanhempi kuin luullaan, 37-vuotias. Tämä hätkähdyttävä seikka on mainittu paremmin tämän tekstin englanninkielisessä versiossa selittäen juurta jaksaen monia seikkoja, jotka todistavat hänen ikänsä olleen huomattavasti korkeampi kuin kömpelö väite 18- tai 19- vuotiaasta faraosta, mikä on vain puhdasta illuusiota. Itse uskon, että kyseessä on harha- hautaa sen käsittämättömiä rikkauksia on helpompi ollut lähestyä näin. Tutankhamun valittiin faraoksi 16-vuotiaana.

Ja niin edelleen, opiskeltuani hartaasti Tutankhamunin hautaa, jättää se minut vain yhteen johtopäätökseen. Hän oli hyvin aktiivinen kuninkaana ja vastuussa omasta poliittisesta vallastaan. Kaikki tämä on jättänyt minut ristiriitaisiin ajatuksiin, ja vaistoni sanoo että on hyvä kirjoittaa oopperaa Tutankhamunista, missä hänen oma nuori itsetuntonsa pääsee esiin. Haluan näyttää toisenlaisen tulkinnan Tutankhamunista. Että hän oli vahvasti tunteva mies joka jo lapsena näki asiat eri tavalla kuin isänsä ja oli varhaiskypsä. Että hän tajusi että jotain on pielessä hänen isänsä hallinnossa. Että vanhoja jumalia ei noin vaan voinut hylätä. Oopperoissani haluan esitellä Tutankhamunin jonka täytyi kohdata kovia haasteita palauttaakseen temppeleiden toimivan tavan omata valtaa. Haluan ehdottaa millaisia vaaroja hän kohtasi toteuttaessaan tätä. Haluan myös painottaa uskonnon merkitystä noina päivinä.

Monilla historiallisilla seikoilla, kuten sillä että hän menetti kaksi tytärtä heidän synnyttyään kuolleina, on suuri merkitys oopperoissani. Oopperani eivät myöskään ole pelkkää fantasiaa. Haluan tuoda esiin sen, miten raaka yhteiskunta oli noina päivinä, että ihmiset voisivat verrata olosuhteita muinaisuutena ja tänä päivänä. Luulen että siinä on tarpeeksi syytä säveltää ooppera Tutankhamunista niin että voin antaa tälle hahmolle elämää joka silti rakensi kauniita temppeleitä laittamalla valtaan vanhat jumalat uudella tavalla. Ottamalla huomioon kaiken sen, mitä oli mennyt pieleen hänen isänsä testamentissa, vaikka hän tuokin jonkunlaisen valon isänsä kaupungista, jossa uskotaan lapsen lailla.

Nuoren faraon tunteista kirjoittaminen tämän keskellä on haastavaa ja inspiroivaa. Lisäksi, olin tarpeeksi urhea kuvatakseni Tutankhamunin bi-seksuaaliksi perustuen Horuksesta ja Sethistä olevaan homoseksuaaliseen legendaan muinaisessa Egyptissä, ja siihen että hänen isänsä on ajateltu olleen bi-seksuaali, sekä joihinkin eroottisiin miesobjekteihin haudassa. Halusin kirjoittaa ensimmäisen näytöksen hänen lapsuudestaan tehdäkseni ymmärrettäväksi sen, että hän eli ensin isänsä metodeilla paikassa missä palveltiin vain Atenia, aurinkolevyä, ja 2-4 näytöksissä hän toimii uudistaakseen Egyptin vanhojen jumalien vallan.

Tutankhamun on aistiva, rakastettava hahmo joka silti on ristiriitainen vaikeassa tehtävässä.

Ehkä oopperani voivat antaa siivet ja sympatiaa keskustelulle muinaisen egyptin uskonnosta ja jokapäiväisestä elämästä.

Viime aikaiset tutkimukset osoittavat, että Tutankhamunilla oli jalassaan lievä Köhlerin syndrooma joka olisi pakottanut hänet käyttämään kävelykeppiä loppuelämästään, viimeisen parin vuoden aikana, kun tauti ilmeni.  Olen keskustellut asiaa tutkineiden tärkeiden asiantuntijoiden kanssa, ja se ei kuitenkaan estänyt häntä ajamasta hevosvaunuja aiemmin elämässään, ja kävelemästä normaalisti. Tutankhamunin kuolinsyy oopperassani vastaa viimeisiä tieteellisiä tutkimuksia pilkuntarkasti.Tutankhamunin haudassa olleista väitetyistä 139 kepistä jokamäärä on kamala valhe, en tiedä, kuinka tällaista voidaan hurskaasti thedä, mikä helvetin salaliitto se on, mutta oikea haudassa ollut määrä on 54. Ja vain 3paria keppejä ovat olleet kävelykeppejä, ja loput hallintosauvoja palatsikäytössä. Tiedoksi: Netissä oleva kuva Tutankhamunista oudommalla naamalla, missä hän käyttää kävelykeppiä, on hassu väärennös BBC:n toimesta kahdella tavalla. Ensinnäkin, naama esittää Ramses 3:sta, sinänsä kaaunis farao. Tutankhamunin naama on se oikeasti, mikä naama on vain naamana näistä uudella teknologialla tuotetuista versioista. Mutta jalka vielä, kummallakaan, Tutankhamunilla eikä Ramses 3:lla ollut noin pahasti vääntynyttä jalkaa. Koko juttu on kansainvälistä kateutta.Mihin? Ehkä säveltämiini muinaisegyptiläisiin loitsuihin. Ja kehotan vakavasti vilkaisemaan Tutankhamunin muumion jalkoja netistä, missä ne itseasiassa näyttävät jotakuinkin täysin normaaleilta.

Tutankhamunin hallinnon aikaan kehitettiin erityisesti esimerkiksi huonekaluteollisuutta lisäämällä nelijalan, lisäämällä kohotivaa bulkkeihin jaloissa. Kaikki oli siis tehokkaampaa, varmistetumpaa, hitsatumpaa. PURJEALUS ON TUTANKHMUNIN hallinnon saavutus, sen esiaste. Juuri Tutankhamunin hallinnossa keksittiin lisätä narut, köydet ympäri purjetta ensimmäisen kerran purjeeseen, tuli ¨reivipurje¨. Tutankhamun ourjehti vain Niilillä. Vain yhden kerran hän eteni itäpuolelle Välimerta.

Musiikki: tärkeää: Ennen Tutankhamunin hallintoa ei ollut kuin harppu, ja esiasteena Akhetatenissa kehittyi lyömäsoitinta. ASIA TODELLAKIN ON NÄIN. Mutta: Tutankhamunin hallinnossa keksittiin puhaltimet, vaski, ja puu, lyra, viulun esiaste, ja niin edelleen. Myös sistrum on KEKSITTY vasta Tutankhamunin hallinnossa.Sen keksi Tutankhamun ja palatsipojat Tutankhamunin palatsin kellarissa Tutankhamunin vakavan isänkaipuun vuoksi.  Lyyran kielet olivat Leopardin suolistosta tehty, ja lyyraa soitettiin puukepillä. Oli kaksi soitinta. Toinen sisälsi kaksi kieltä, ne olivat kuten c ja e. Toisessa, enemmän molli-instrumentissa oli kolme kieltä, niinkuin  c, es ja as.  Näin lyyran soittajat saivat aikaan kujerteettista ja lamentoivaa saudia. Harppu sensijaan, siinä käytettiin kielinä leopardin todella kireälle kiedottua nahkaa, niin kireälle, että eri korkeuksia, värejä saatiin kuuloaistimuksena aikaan. Harpun asteikkon paljastan oopperassani ¨Tutankhamun¨, se on jo alkusoitossa. Trumpetissa olivat näin: c, es, as, ja kokeammalla e. Ja lisä e myös alempana. KAIKKI NÄMÄ NUOTIT OVAT AIDOSTI B-VIRITTEISIÄ, kirjoitin tähän vähän kuin ¨C-duurissa¨. Tämänkaltaista tekoa luoda instrumentit pidettiin esimerkkinä jumala Amun-Re:n pyhästä teosta. Kaikki nämä instrumentit ovat fantastisella, aivan polemiikkisella ja kiehtovalla tavalla kuvattu Tutankhamunin keskitemppellin Luxorin temppelissä, minkä pyloneja ja ehkä seiniäkin on pohjoismaisissakin julkaisuissa TÄYSIN VIRHEELLISESTI pidetty hänen isoisänsä Amenofis #:n rakentamina. Se ei ole ollenkaan totta. Niilin puoleinen kaunis, tavattoman kaunis seinä on kokonaan Tutankhamunin rakentama, kun taas takaseinä, hänen sotakenraalinsa, neuvonantajansa Horemhebin rakentama omassa hallinnossaan kauna Tutankhamunin kuoleman jälkeen. Kauniit alabaster patsaat on rakentanut temppelin molemmillepuolille Ay, Tutankhamin jälkeläinen, seuraava farao, koska hän varasti Tutankhamini  HALLINTOKIRJOITUKSEN ja laittoi sen omaan hautaansa. PYLONEISTA 4 on rakennettu Tutankhamunin hallinnossa, ja yksi Ay:n ja yksi Horemhebin hallinnossa.

Vielä kiinnostava lisäfunktio mitä ei ole tiedetty: Kosmeettisista ¨lotioneista¨ käytettiin seuraavaa reseptiä muinoin suojaamaan auringon kovalta paahtavalta vaikutukselta, koska tarkoitus oli kuitenkin korskeasti liikuskella yläkroppa paljaana hevosella temppelin edessä. Hyeenalta rikottiin luita kovalla kädellä, otettiin suolistot, ja krokotiililta verta. Koko hommaa hämmennettiin auringon alla niin kauan,kovalla, kovimmista kovimmilla kädellä niin kauan että sitä kehtasi laittaa kasvoihin ja muualle kroppaan.

Tutankhamunin aikaisia RAKENNUSTÖITÄ OVAT lisäksi Karnakin suuren temppelin Mut-temppeli. Vaikka Ramses toisen nimi on temppelissä, Tutankhamun rakensi temppelin. idea hänen aikanaa oli laittaa nimi temppelin edessä olevaan sfinkisipatsaaseen edutaakseen uudentyylistä temppeliä. Ramses toinen on myöhemmin tykännyt temppelistä ja rakentanut temppelin sisimmän pyhäkön. Siinä kaikki. Nimi Nebheperure, Tutankhamunin hallitsijanimi oli myös alunperin temppelissä. Lisäksi Tutankhamunin aikaisia rakennustöitä on ihana erikoinen ¨pyhä järvi¨Karnakin temppelissä. Se tehtiin seurauksena Tutankhatenin kylpemisestä Nefertitin upalatsi uima-altaassa nykyisessä Tell-el-amarnassa, silloisessa Akhetatenissa, minkä palatsin rauniot ovat vielä jäljellä. Ensimmäisen takaseinä, toisen pohja ovat thety farao Horemhebin hallinnossa.Akhetatenissa Jani Kääriä on vieraillut vuonna 2001. Tutankhamunin kaunis kuun jumalaa esittävä Khonsu pää, jota pidetään Berliinissä, kaiverrettiin juuri Tutankhamunin SUURIMMAN OPET-FESTIVAALIN jälkeen jossa Tutankhamun tappaa salaliittolaiset jotka uhkasivat hänen henkeään siellä. Tämän kohtauksen oln kirjoittanut huolellisesti muinaisteksteineen oopperaani ¨Tutankhamun¨, sen ollen oopperan tärkein joukkokohtaus. Kaikki rTutankhamunin rannekorut on valmistettu tuon tapauksen jälkeen, sekä suurin osa kaulakoruista. Kuten esimerkiksi kuuluisa ¨vihreä skarabee kaulakoru¨, joka valmistettiin heti tuon Opet-festivaalin jälkeen, ja toinen, kolmen skarabeen kaulakoru, joka valmistettiin taas noin kolmen viikon kuluttua siitä. MOLEMMAT nÄMÄ PUUTTUVAT Cairon museosta, ja ovat KUningatar Elisabethin hovissa Lontoossa. Kuuluisa ¨Medinet Habu¨, missä on kuolintemppeleitä, sen rakentaminen aloitettiin jännästi nimenomaan Tutankhamunin hallinnossa. Ennen sitä, siellä oli tyhjä kumpu. Sekä Horuksen temppeli, että Sobekin temppeli sen jälkeen on rakennettu Tutankhamunin hallinnossa. Tosin, Horus Sobekin temppeliin luotiin Horemhebin hallinnossa, ja sisin pyhin temppeli Horuksen temppeliin myös.

Homoseksuaalien osuus väestöstä on ollut perin suuri eräänlaisen kivipelon vuoksi.

Olen erityisen ihastunut itse muinaisegyptiläiseen loitsuun 17,mutta lisäinfona mainittakoon, että olen muistanut ylimääräisen eemmän ihmismäisen tarinallisemman loitsun, jota olen pohtinut, ja josta olen varma, että se on itsensä farao Tutankhamunin kirjoittamamuinaisegyptissä hänen henkilökohtaisessa työhuoneessaan. Loitsu ehkä loihtii hieman historiaa,mutta kertoo lyyrisen pohdiskelevasti Tutankhamunin tarninan. Pidän loitsua vielä toistaiseksi salaisena. Olen varma että loitsu oli alun perin Tutankhamunin haudassa, mutta on varastettu historiassa Ludwig 16: sta murhaajapojan ja Ay:n toimesta historiassa. Tutankhamunilla oli muuten omat somat hyvin kiharat hiukset elämänsä läpi, mitä hän ei koskaan leikaanut, paitsi kerran, lapsuudessaan.

 

Myös, olen kehittänyt avaruusalus- formulan.

¨Tutankhamun in opera¨ sisältää paljon enemmän asiaa

 

Tutankhamun in opera

 


I'm very interested about the reign of Tutankhamun in ancient Egypt. I think he is underestimated in history and people usually think he is famous only because his tomb was found intact at 1922.It is thought that he was under the influence of guidance when he returned the power of the old gods after his father Akhenaten left the country in a bad state by abondoning the old gods of Egypt and by replacing them with just the solar deity Aten. Some people think Tutankhamun was just a foolish boy who was murdered. However, Tutankhamun was in fact way older than it's been considered regurarly, namely 37, so however, that even after a year after his royal death In Egypt, people didn't believe it to be true. The golden death mask of Tutankhamun has been manufactured by Tutankhamun was about 17-18 years of age, but it was kept in his life all through the end in his Death temple in Medinet Habu.  having lost his foetuses at the age of 12 and the other, at 14 which is now greatly remorized in my coming Opera. He also received 3 other children who all died Young, like in the reing of Maria Theresa, The Great, The founder of the Versailles, Spain. .Tutankhamun came to throne at the age of 16.

And so on,, after studing hard Tutankhamun's tomb that leeds me to only one conclusion. He was very active as a king and responsible for his own political power. All this has put me to contradictory thoughts, and my instinct is to write opera about Tutankhamun, where his own young self-confidence comes out. I want to show another kind of interpretation of Tutankhamun. That he was strongly sensing guy who already as a child saw things differently than his father, and was precocious. That he realized that something was wrong in his father's government. That the old gods could not just like that be abandoned. In my operas I want to introduce Tutankhamun who had to face heavy challenges to return the functional way of the temples back to power. I want to propose what kind of dangers he had to face in executing this. Also, I want to emphasize the importance of religion in those days.

Many historical facts, including him having lost his two daughters them being born dead as foetuses has a strong role in my operas. Also, my operas are not fairytale, fantasy only. I want to bring out the raw way the society was those days, for people to compare the circumstances in ancient and modern society. I think there's enough reason to write an opera about Tutankhamun to give life to this character who still builded beautiful temples by applying the power of the old gods in a new way. By taking into consideration all that had gone wrong in his father's testament, despite that he brings a certain kind of a light from his father's builded town, where the faith to god is like a child's faith.

To write about young pharaoh's feelings in the middle of all this is challenging and inspiring. Also, I was brave enough to picture Tutankhamun as a bi-sexual based to the gaymyth, legend of Horus and Seth in ancient Egypt and the fact that his father has thought to be bi-sexual, and some erotic male objects in the tomb.  I wanted to write the first act about his childhood to make it understandable that he first lived by his father's methods in a place which only worshipped the Aten, solardisk and in the 2-4th act he acts to renew the power of the old gods of Egypt.

Tutankhamun is a sensing, lovable character who is still contradictory in his hard tasks.

Perhaps my operas can give wings to conversation about the religion and everyday of the ancient Egypt and give symphaty to that.

The recent examinations show that Tutankhamun had in his leg a mild Köhler's syndrome, which would have forced him to use walking-stick in his last years, when the disease manifested itself.  I've been consulting with important experts having researched the topic, and this didn't however stop him to ride chariots or stop having walked normally earlier in his life. The reason of Tutankhamun's death in my opera matches exactly the latest scientific examinations. In Tutankhamun's tomb was claimed to be 139 sticks but it's a LIE again by terrible people. The true amount is 54 that were All manufactured to be RULING-STICKS, NOT WALKING STICKS LIKE THE IDIOTS CLAIM REALIZING NOTHING ABOUT THE BALANCE. However, with the right of my ancient soul, I declare that 3 pairs of them were changed and used as walking-sticks, but really so, just applied as glamorous, groosy way, just like that into walking-stick way usable, never manufactured as such. The image about Tutankhamun's ¨clubfoot¨in the net with a stick is a forgery made by jelous people. When you take a look about Tutankhamun's feet in his mummy, where they look normal, you notice how horrible forgery the image is. Tutankhamun's left leg was NOT twisted like that at all. The latter image presents simply an image of the looks of the Great king Ramses 3 with a forgered leg. The kind of a person, possibly on BBC who does that, is making sarcasm for sarcasm ,not sarcasm for a reason. The first, original image with this new technology looks like Tutankhamun would have looked where just the face is imaged, in ancient Egypt. Without a smile, of course!

DURING Tutankhamun's reign was developed greatly for example the furniture industry by adding some layer to the bottom comparing the old and ¨pots¨, bulks to furnitures like chairs. Also vessel, ship industry was developed by adding glamour, first time the ropes, lines were tried as a whole to the sail,  and adding shild. Tutankhamun only sailed in the Nile. Only once he furthered a little to the east side of the mediterranean.The golden chariot model came to fashion. Vases were developed by rounding them more fluent, more excuisite.

I am especially attracted to the ancient egyptian spell 17 which tells lyrically about the True founding of a King to this World that was written complitely and originally, except the very first beginning, that during Amenhatet 2nd, very very first phrases only, all the rest is been written during Tutankhamun's reign in a spaceship that took Tutankhaten all the way to Versailles in Orion after it's returning to earth's athmosphere by ¨them ¨in the spaceship Tutankhamun presented and incouraging them., and after that in phrases in the Luxor temple by the order and spelling by Tutankhamun the scribes doing their work. but as an additional information it to be mentioned that I've remembered a more human, dictatory spell that I've been considering and of which I'm sure that it is originally written complitely by pharaoh Tutankhmun in ancient egypt in his personal work room with slightly with a radio presnetedin the table.. The spell conjures up a little bit history but tells lyrically considering the story of Tutankhamun. I'm positive that this text was originally in his tomb, but is one text that has been stolen from the tomb in history by a priest, and  pharaoh Ay, and a priest of Horus, Nefertem

 

During Tutankhamun's reign about 40 per cent of the men poppulation were gays in the Luxor temple, and about 80 per cent of the priests in Karnak temple. A careful estimation was that abpout 20% of ALL POLULATION was gays.  But then was the stone to be to fear for.

 

Informational announcement: The pylons in the center hall of Luxor temple, the absolut ¨temple¨of Tutankhamun, were built by him, I mean in his reign as karma after the two pregnacies with Ankhesenamun had ended as foetuses exactly. And further, so that 4 of them were built by Tut, the rest two by Ay, and the last, by Horemheb. First camel woman, then Meritaten became pregnand to Tutankhamun. The two sons amd after that, one daughter died all young. The daughter was killed by Horemheb. Somehow Tutankhamun became to sense this, and agreed with Ay to write the restauration- stela after Nefertiti' death. In that incident, Ay having " killed" Nefertiti, Ay forced Tut to mark him as " the first son".The Nile-side wall is built by Tut, the other, Horemheb's. The alabaster statues on the other hand were built by Ay as a token of stealing the famous spell Tutankhamun wrote in his workroom durin, through his life, which I now have remembered and is here shortly after this text. Still additional note for oh-so-curious people: Also the sacred lake in world-famous Karnak temple in it's entirety was built exactly during the Great pharaoh Tutankhamun's reign except of the base which was manufactured during Horemheb, before him it was mud, exactly after the manufacturing, appearing of the carved palace pool of Nefertiti. As a token. And the back wall of the temple of Mut in Karnak by Horemheb to that Tutankhamun's otherwise built, beautiful temple. Eventhough Ramses 2:nd's name is in the temple, Tutankhamun built it, the idea was in his reign to write his name to the sphinx statues to ¨present¨the new kind of temple, and that's waht Tutankhamun did. Ramses 2nd later on has ¨liked¨the temple and built the innere sanctuary of the temple. That's all. The name Nebheperure originally was in the temple also. During Tutankhamun, also  the nice male with little clothes images in Karnak temple with erection and other kneeling with the lettuce ready to receive. The beautiful statue of moon god Khonsu Tutankhamun with a plait, stored in Berlin, has been carved exactly after the GREATEST OPET-festival of Tutankhamun, where he killes the schemers against him. That issue is in my Opera Tutankhamun and will be the main festival scene there. During and after this festival, all the bracelet's for Tutankhamun were constructed and most of the rest of the Necklaces. Like immediately after the Opet-festival was carved the great ¨green scarab pectoral,¨, whereas the three-scarab pectoral was likewise carved about three weeks later. BOTH THESE THREASURES LACK from the Cairo Museum, and are in the Palace of QUEEN ELISABTH in London. The famous and beautiful ¨Medinet Habu¨ where's death temples and also Ramses 3:rd:s ¨palace temple, and of course then , Tutankhamun's temple of death, has been negun to construct EXACTLY in Tutankhamun's reign. Before him, there was just an empty hill. Both the Temple of Horus, and the temple of Sobek has been created in Tutankhamun's reign. However, the ¨Horus¨to the temple of Sobek was created during Horemheb. Also, the most innere area in Horus temple, the holiest, during Horemheb. Originally. Also, the famous Stonehenge has been managed during Tutankhamun's reign. I remember by my ¨distant memory¨how it was showed to me or explained in ancient Egyptian in thy spaceship that a ¨counter-stone struture¨is managed in the North. Tea is NOT AT ALL ORIGINALLY an english invention. It's been developed in China at first, and been brought to that time's egypt at the reign of Tutankhamun. It's REAL ancient egyptian name was hear THIS: VESPANUIIA.

 

In the ancient Egypt, exactly during or since Tutankhamun's reign the cosmetic ¨welly protecting¨facial and body lotions were constructed from the following ingridients: 1.) The crocodile blood, 2.) hyena's ttiny broken bones, 3.) hyena's internal organs such as the food chanals coming from the stomach. They were mixed under sun, since the idea was anyway boldly to boast under sun with a horse in frontof the temple. But the neck bones of the hyenas were broken so harshly over and over again to reach good lotion.

 

I'm positive, suddenly, that ¨music¨, musical developed instruments were based in the ancient Egyptin exactly during Tutankhamun's reign. At least the melancholy, probably the basic shapes, and the scales. Since they are so well depicted in the Luxor temple's center Tutankhamun's temple, like I've explained. I remember chrystalclear as I own my painting, that the developed spieces brought to the palace a developed ¨organ¨, that had the 9 white-key, 7 black-key scale, and the normal tonal scale above it as a model the aliens had created to karma comparsion. Through that, in erotic prove, in Tutankhamun's (Malegay erotic hobby) palace special cellar type of an area, been counted the small scales for each instrument on the walls of the hall. You should go and see the temple. I remember chrystalclear that in the ancient Egypt was before Tutankhamun's reign only the harp. The percussion hands were created in Akhenaten's reign, and then the trumpet with wooden inside was created in Tutankhamun's reign+ the lyras, being the first steps leading to violins in the history. Also, the sistras, sistrums were managed, created first time in the Tutankhamun's reign. Tutankhamun invented the sistrum with his palaceboys in his palace's cellar once out of serious longing for his father. Singing was practised too, so that Tutankhamun at certain point begun singing, then the rest, and once that's over, and then suddenly, the percussion instruments started again. (This begun with ¨spare hands¨what were clapped, first in Akhetaten towards a bronze metal shield. Then in the Luxor temple, the idea was originally to bring lots of food, that's why, the hunters finally brought leopard leather to be used as exctract. They did their ¨karma¨. After that the violins, I mean, the lyras started their duty. There was two in different scales. The other more major style, had two strings, like c and e the other, more minor, had three strings, like c, es and as. They did their performance lamentically somehow was the most touching. The strings were manufactured of intestines of the Leopard, and it was played with a wooden stick. The trings of the harp in the ancient Egypt were of leopard's skin, pinned tightly, most tightly as possible to the body of the Harp. The scale that was in the harp, I will reveal in my opera ¨Tutankhamun¨, it's already in the overture. The trumpets performed finally when the pharaoh entered the temple.The scale off the trumpet was like c, es, as and higher e. And the additional e also lower. ALL THESE NOTES ARE SUSTAINED AS B-TUNING, I just wrote them here to ¨C-major¨beginning. Such things, like the creation of these instruments was highly considered as an example of a holy deed of the god Amun-Re. But how all this was done in Tutankhamun's LUXOR TEMPLE, and what other activities happened appeared there, that I tell later in Luxor. I remember chrystal clear what things were practised in the temple, and also what in Karnak temple. I remember also, what other people did, who didn't participate the temple rituals. I will one day there in Luxor tell with a happy heart THESE memories about the ancient Egypt. In the ancient Egypt the One who understood magic was the most powerful. It was announced by irony. To face the reality purely. Tutankhamun by the way had his own surely very curly hair all his life which he never cut, exepct once during his childhood.

Also, I have developed a spaceship-formula. It is meant for European use Primarly. to participate the futurecoming spaceprogram, that should due historic reasons happen.

 

As a distant backmemory I just have to write here, since it's anyway my personal website that I remember the palace Versailles, the famous palace of being so cheerful, extreamely lucky and happy place for everybody, more happy than the love scene in the restaurant in Puccini's La Boheme. Something still could be created out of this, maybe.)


There's also more information about his musical tendencys in a book Minä, säveltäjä II. Nykysäveltäjät kirjoittavat työstään. ( trans. Me,composer II. Modern composers write about their work)It's available in the autumn 2002 by the publisher: Summa kustannusosakeyhtiö.

 

 

DEATH BECOMES KARMA, written in hieroglyphs originally, see the painting attached, by young pharaoh Tutankhamun in his working quarters like I have imaged, Ay and another terrorist from the temple of Horus, called Nefertum ,an original from there, from the exact front, who in history became later Ludwig 16:th's murderer, stole this writing together huntingly. It was originally placed there between the ship models, as several different papyrus rolls between many ship models in Tutankhamun's tomb. Those two then moved the ships a bit after removing this spell from there. Ay also stole from the tomb A mummy of a lion and a pigeon.As a relsult, for example, the ship of Menkaure is presently misslocated in history. Also, the amun-priests stole a mummy of a rhino.Enjoy!

Also, there's been a mummy of a tiger and a frog., and 4 parrots, and a mummy of a horse. Mummy of a cow, too, of corse.

Also, there's been a chrystal-¨white¨, but green  ¨diamond¨head dress, a ¨crown¨, a special in Karnak temple priestwise head dress, and a blue war-crown.Also, mummies of two cats.

DEATH BECOMES KARMA WRITTEN BY JANI KÄÄRIÄ, the first movement

 

After each secret sign appearing the first time in this spell, I image verbally, how it looks like in the pergament papyrus written originally, an created by my earlier soul Tutankhamun

 

¨By my magical means I keep this Egypt by karma. I manage the reason. I know the reason.

Secret sign 1: From the space the karma anyway begins and it's going to be a reason. (half a round upside down)

I give power. Sun begins.

Secret sign 2: The spaceroad must be questioned directly by whatever means by karma in the Golden sanctuary. (Luxor temple)( a cornerwise ¨puzzle¨. in three corners)

I make little like slavery of karma. I make reasonkarma of me and begin reason.

Secret sign 3: The southern sactuary (Karnak temple) wall will be questioned by reason. (a round)

The death by irony. I make a reason. That can be the reason. Sun becomes karma.

Sign 1: From the space the karma anyway begins and it's going to be a reason.

I cook for others and myself-the reason karma begins. Crocodile begins and Seth gets a reason. And my heart meets the reason.

Sign 2: The spaceroad  must be questioned directly by whatever means by karma in the Golden sanctuary. (Luxor temple)

Homosexual makes affairs. And children remain. Sunroot begins. Suicide begins.

Secret sign 4: How in the hell- the spaceship cannot be found...shit. (half round upside down, on top of it a line)

The past leaves you now. And forever karma begins and general office begins.

Secret sign 5: This question will be karma. Karma goes. (own murder)(a knife)

My labour flourishes. Father remains in karma. And God remains.

Sign 3: The southern sanctuary (Karnak temple) wall will be questioned by reason.

Father remains in reason. Crocodile begins. Land kills. Regular homosexual begins.

Secret sign 6: It stays as ka- it stays as people have said it on the way out.(2 men each side of the cow)

Beautiful time begins. Lion begins.

Sing 3: The southern sanctuary (Karnak temple) wall will be questioned by reason.

Sign 6: It stays as ka- it stays as people have said it on the way out.

Sign 2: The spaceroad  must be questioned directly by whatever means by karma in the Golden sanctuary. (Luxor temple)

Snake arrives. Seth begins. Karma begins by reason. Faithful stays.

Sign 3: The southern sanctuary (Karnak temple) wall will be questioned by reason.

Sign 1: From the space the karma anyway begins and it's going to be a reason.

The reason of killings. Crocodile kills. Lion horrifies.

Sign 4: How in the hell- the spaceship cannot be found...shit.

Sign 5: This question will be karma. Karma goes. (own murder)

Sign 3: The southern sanctuary (Karnak temple) wall will be questioned by reason.

And sun wins. The land belongs to me. Arriving of the Ennead. The waters become karma.

(Sign 5: This question will be karma. Karma goes. (own murder))

Sign 4: How in the hell- the spaceship cannot be found...shit.

Sun is becoming karma.

Sign 2: The spaceroad  must be questioned directly by whatever means by karma in the Golden sanctuary. (Luxor temple)

Snake begins moving. Karma is understood by reason.

Sign 5: This question will be karma. Karma goes. (Own murder)

Sign 2: The spaceroad  must be questioned directly by whatever means by karma in the Golden sanctuary. (Luxor temple)

SIgn 3: The southern sanctuary (Karnak temple) wall will be questioned by reason.

My heart meets the reason. My heart values the reason and my heart weights the reason.¨

 

The second movement

 

¨Crocodile fears. The lonesome fears. I've understood karma.

Sign 5: This question will be karma. Karma goes. (own murder)

Life horrifies.

Sign 1: From the space the karma anyway begins and it's going to be a reason.

Sign 2: The spaceroad  must be questioned directly by whatever means by karma in the Golden sanctuary. (Luxor temple)

Life makes me fear.

Sign 3: The southern sanctuary (Karnak temple) wall will be questioned by reason.

The reason of karma is reason. Life horrifies. The reason of love is karma. Love with a woman. Living, having birth. But man wants the karma and that's why I am man. The reason of love is me. I'm vindicated- through the space.

Crocodile fears. The lonesome fears. I've understood karma.

Sign 3: The southern snactuary (Karnak temple) wall will be questioned by reason.

Sign 4: How in the hell-the spaceship cannot be found...shit.

The waters rinse. Burns life's light. And the gold is found.

Sign 2: The spaceroad  must be questioned directly by whatever means by karma in the Golden sanctuary. (Luxor temple)

Sign 1: From the space the karma anyway begins and it's going to be a reason.

I'm thirsty for the salt of life and I suffer of horror.

Sign 3: The southern sanctuary (Karnak temple) wall will be questioned by reason.

Red elephant comes by way. And life carries me of me.

I'm thirsty for the salt of life. Life carries me of me.

Sign 4: How in the hell- the spaceship cannot be found...shit

Sign 2: The spaceroad  must be questioned directly by whatever means by karma in the Golden sanctuary. (Luxor temple)

I'm in love with man and life carries me.

Sign 3: The southern sanctuary (Karnak temple) wall will be questioned by reason.

I'm karma. I'm karma with woman and man, Bi-sexual. I long after the spaceship. I-lonesome.

New secret sign 7 : This question will be karma.  Karma with sun. (own murder)(knife below a sun-sign)

Holy cow is sin. And I'm karma. Together we stay reason's horror. Land begins irony- and I don't manage reason. The great mourning. Beginning of death.¨

 

 

The third movement 

 

¨World brakes. And karma by reason.

Sign 3: The southern sanctuary (Karnak temple) wall will be questioned by reason.

No more lie. I'm karma by irony. White elephant comes by way and welcomes me to karma. The holy eye of horror is travelled. Holy eye of karma- my karma with sun.

Sign 3: The southern sanctuary (Karnak temple) wall will be questioned by reason.

Holy eye becomes karma.

((A lot of lyres were played in this time...))

Sky becomes karma. And root remains. The holy eye of love. Finally man. But then karma gets it. The white elephant wines. That he has karma with me. Karma with men. I belive reason. I make irony. But the debt of love is in me. Commonry fears. Reason fears. And I'm received.¨

 

The fourth movement

 

¨Lion fears. Reason kills. And I'm sin.

Sign 4: How in the hell- the spaceship cannot be found...shit.

In each and every of us there's evilness.

I'm in faith by homosexuality.

Reason kills.

Sign 2: The spaceroad  must be questioned directly by whatever means by karma in the Golden sanctuary. (Luxor temple)

Sign 3: The southern sanctuary (Karnak temple) wall will be questioned by reason.

Karma with Horus temple.

I'm homosexual and do what I desire. That was already announced in space.

By irony white elephant.

Sign 4: How in the hell- the spaceship cannot be found...shit.

The reason of cradle is karma. I'm little understanding, By office a man. I hide the reason. Land begins irony. And I fear. Serpent sin. Dead¨

 

I've realized where the original spell handwritten by king pharaoh Tutankhamun is: Partially 1 meter deep under Ay' tomb, partially under another tomb under it's sarcofagus which is under Ay's tomb secretly.