Commissioned works

Professional commissions:

Fourth is listed his professional commissions for independent groups after his studies:


Piece for boy's choir ¨Aurinkokasvot¨,Face like Sun, 1998, text by Octavio Paz, commissionned by the Cantores Minores choir. F.p. 10.5.98. Performed worldwidely in Europe, Japan and in the U.S.A. about 60 times, in Finland very many occasions like Tampere kuorokatselmus.


in english and in finnish

 

First, a little story behind composing in Miami beach: ( a longer travel story is at the end of this chapter)

 

As I was returning the last time from a trip from Finland as I was living and composing in one of those luxorious high rises of South Miami Beach, the University of Miami gave me, at spring, april 2000 a ticket¨a sensual¨ request to go to participate a panel discussion at the New world Symphony in Lincoln Road. I went, and there was Michael Tilson Thomas and an american modern composer of whom I had heard earlier a work for a quitar and an orchestra. There was possible to place questions, and I proudly raised up and asked what whould you do, would it effect to composing, if there was an interfearence on the door, while you are very consentrating in composing an opera piano score. For me, a secret ¨knock¨on the door, what it had felt, odd, had changed something in the composition,  choise of a theme or disharmony of a kind.

The guitarist composer commented passionately. Later, the other students at the University told me I was extra good, and even they could have placed some questions if they would have could, or had a topic more.

In the happy proceeding panel  intermission, a girl from the new world sympnhony proudly asked me like a ¨commission¨, shortly, she said  pleased to ask me to compose a piece for a horn or a horn and a string quartett. I was So happy and proud about that. I nostalgically composed a solo-horn work, called ¨blue sun¨. It sounded a bit ¨french¨. I took it to a concert at the symhony, but never found the girl who commissioned.

Later I went back, after 2-3- years, to ask about this. Since it was and still is unperfromed, and now, I've modelized the theme to my opera Tutankhamun, but the extreamely angry person at the symhony blaimed me, looked angry, that ABSOLUTELY there never was any commission to me. Now, I'm Equally Absolutely positive, that something happened to the girl. Something dangerous.

 

At the end of this chapter, there's a ¨travel story¨ about my years composing in the USA that leading to composing in Egypt


An opera Osiris 2000, for 4 singers and a chamber orchestra of 35-40 musicians (depending of the number of the strings). The story is based to a dream and original synopsis by Jani Kääriä, libretto by Jussi Tapola and Jani Kääriä. Length 60 minutes. Commissioned by the Finnish National Opera. F.p. 3rd of March 2003 at the Alminsali, small stage at the Finnish National Opera as a co-performance with the international new music festival Musica Nova Helsinki 2003. (Composed entirely in both Miami Beach and San Francisco)The opera was performed 5 times, one performace was at the Finnish Music day.            

Hannu Lintu, conductor
Cast:
Miam: Tiina Vahevaara, sopran
Paris: Ilkka Hämäläinen, tenor
Karnak: Riikka Rantanen, mezzosopran
Israel: Heikki Kilpeläinen, baryton
Osiris-Seth-Horus: Ville Mäki, dancer

 

There exists a handwritten version of the singing parts in english by  the composer, possible to request from him for professional performance.

 

 
Contains the synopsis of Jani Kääriä and the synopsis of Jussi Tapola in english

The synopsis of Jani Kääriä

1st Act    Laboratory

The beginning of Osiris-opera is playful and hippy. The characters Paris and Miam are the scientist and his assistant who develop a serum in their laboratory which takes away the obstacles of eternal enjoyment. They search liberation to their inhibitions and to their cultural-karmatic burden, memes. Finally everything is just sex for the researchers: religion, science and philosophy. An opposite side to them forms the artist couple, Karnak, sculptor and Israel, musician. Karnak dreams about entering into a more afterlife paradise- into a paradise on earth, in the god Osiris. She searches her creation-force from the ancient Egyptian mysteries and remembers how people experienced bliss by hearing the tinkling of sistrums. Israel is just commenting, trusting to the art-ritual together. Osiris is connected to the feel of transparent world and magic. The dancer Osiris leads them way.

However, also Israel falls into the temptation of serum of the laboratory, and sensual pleasure thereby. They feel to be god-like, gods themselves. Since Israel doesn’t let her, Karnak doesn’t have the potion, even if she desires that at first. Maybe because of this, with her praying Osiris to save them, the people manage to wake up Seth, the evil brother of Osiris. The now dancing Seth, a masked creature appears to the characters. Spiritual vision opens up for them. That’s scary. Seth destroys with his dancing the equipments of the laboratory and so makes the subconcious fears of the people on the move. Karnak faints since her statue has fractured. Israel contemplates his relationship with his muse and realizes that he does not need her. Israel brakes a scary, evil mask that appears to them. The dancer starts to come out-one already in the beginning mirroring a certain kind of a spiritual world as beautifully soaring Osiris.

Fear makes the characters to mix partners in love, and Karnak even is in a catatonic state. Paris sees now an enchanting godess in her and cures her as in a role of a doctor. Patient falls in love with the doctor, who falls in love with the patient. Miam is angry to Paris for letting go their cloning process in the laboratory. The characters try to gather together to wonder how to manage from the horror. They find music and wine to relief. Paris and Israel find themselves also in gay-way whereas Miam and Karnak have there a waking lesbian interest for each other. Finally everybody dance together wildly and almost as in a trance, the evil Seth dancer again appears to them. They scream.

2nd Act       Library

However, the dancer, now, as a guider lead the characters to a mystically glowing library. All knowledge seem to hover there and they feel as if they can create without any pressure. They each find answers in their respective fields. In this Miam’s secret library the people gather in peace to get to know their views and emotions. Miam sings that they are in a security supply of mankind’s knowledge. Can they find solution for their own fear and horror? Israel belives that the library protects against an external enemy, but doesn’t save them from the monsters of subconscious.There they now face their fears as broken pieces of masks which Karnak has brought with her. For Karnak, Isis, the wife of Osiris has healed there Osiris by her magic.

However the broken pieces of masks keep bothering them. The characters decide to burn them in a mystical primitive ritual. The flame cleanses, reinforces and binds those participating in the ritual.They feel wonderful now and everything seem to create itself. Suddenly the secret library seem to vanish and the characters are again in a state of horror. As knowledge from the books vanishes, the four people present also seem to lose grasp of their faculties. The ritual of burning and fire has been holy for them.

Karnak realizes that by burning the masks they made the glowing books of the library to disappear. That’s the great mystery in life. Little by little they realize that the knowledge they found was somehow mask derivative. The consciousness and confidence of knowledge has transformed holy by burning the masks. They realize that then evil had it’s part in creating good. And that by this way the good had once created evil to become better, to create things that can’t be created only by being good. The vision is holy for them and as it passes through them, the dancer now is Horus, the son of Osiris who carries the holy eye of Horus with him. They can see through time and wish the eye of Horus to bring them magic. Karnak says that because of love and tears of Isis and because of the holy eye of Horus, Osiris in them returned in honour. Israel asks if evil Seth so brought each of them their good qualities. Karnak answers that no, only Osiris can be a deeper hope, without it they’d end up with barren desert’s rising Seth. Inspiration lies always in good. The ancient Thoth-god wrote by burning to them the holy eye of Horus.

The stone wall library glows again. They can already boast by their achievements. They want to return to their projects, and feel that they already know how to enjoy pleasure. Finally they say goodbye to Miam, after recognizing the magical library being a diploma work of a lightdesigner which is called: ¨the organ of Osiris¨, and the dancer being Miam’s cousin from the theatre school. The masks are said to be expensive and from different parts of the world. They hug and kiss for goodbyes and Miam welcomes them back.

 

The synopsis of Jussi Tapola in the Osiris-opera's brochure

Act I    Laboratory

Two biochemists are manufacturing a substance that will affect the memes, or information patterns, controlling human behaviour and bring happiness by removing inhibitions on ecstasy. The idea is to neutralize the effects of propriety, religion and morals. Paris and Miam decide to try the wonder drug on themselves, rather like Dr. Jekyll. Karnak, carving a statue of Osiris, muses that the Egyptians found happiness in their mysteries: Isis spent the night with Osiris, and people experienced bliss as they heard the instruments playing and saw the beauty of the priestesses. Could happiness be found in a test tube, through chemistry?

  Israel strums an instrument and believes that, with inspiration, his music will transport the audience to bliss, just like Karnak’s art, chemistry or no chemistry. Karnak, however, is interested in casting off inherited inhibitions and is willing to take a dose of the new drug. Israel will not let his muse become a nymphomaniac, so he takes the drug himself.

  Miam and Paris return, panting and incoherent. Israel asks them what they have experienced. Miam giggles and names several volcanoes. As Paris approaches Israel, he feels the effect on the drug himself.

  Having returned to normal, Paris and Miam continue their work. All they need  to do now is design a dosage application device, and the drug will provide a never-ending orgasm. Karnak makes Israel sit on the statue and begins to teach him the Osiris hymn. The scientists think that the wonder drug will revolutionize religion; they consider themselves a new type of god.

  Suddenly the lights go out. For a moment, the room is taken over by a strange creature, Seth, from whom everybody shies away. Karnak faints in Israel’s arms. Israel contemplates his platonic relationship with his muse and realizes that he does not need her, he can manage on his own. The creature appears again, breathing smoke and fire. Karnak awakens and says she sees the face of fear. Israel says it is a mask and, summoning his strength, punches through the creature like an eggshell.

  When the smoke clears, we can see that the statue has split and the meme laboratory is smashed. Miam realizes how brave Israel was and kisses him. Karnak is confused. Paris sees an enchanting goddes in her. Intending to heal Karnak, he lays her down on the examining table. Israel and Miam recognize the situation from other stage works such as A Midsummer Night’s dream or Cosi fan tutte. They leave.

  Paris understands how a patient can fall in love with a doctor, but does not approve of a doctor falling in love with a patient. Suddenly, Karnak appears to regain her health, and the doctor-patient relationship is dissolved.

   Miam and Paris have seen bars on all the doors and windows. They are prisoners in their own house. Fortunately, there is a case of wine in the cellar.

  The atmosphere becomes steadily livelier, and soon it is like a strange school party. Miam takes care of Karnak, while Paris and israel pit their charm against one another. They all want to discover something new about themselves; there is much dancing and caressing. The swingling couples are joined by a fifth person, Seth.

Act II     Library

The books glow with a blue light in the room where Miam brings her guests to safety. This is the library where Miam has studied philosophy. Karnak, Israel and Paris each find answers in their respective fields in this contingency store of human knowledge. But can they find an explonation for their shared problem? What released the monsters of the subconscious just as the barriers went down?

  Karnak says that the answer is contained in the question. She has brought splinters of masks with her and reminds the others that in primitive rituals the evil masks were always burned. Israel starts right away, so as not to have to analyse anything further.

  The masks are piled up, everyone sings in a nonsense language, and fire is lit. The flame cleanses, reinforces and binds those participating in the ritual. They thank Isis for the rebirth of Osiris and the dethroning of Seth. A genuine peace descends on the four. Everything is crystal clear, no words are required.

  The bliss evaporates as they discover that books have disappeared off the shelves and continue to dissappear. As knowledge vanishes, the four people present also seem to lose grasp of their faculties.

   The glow went out, says Paris, but he hopes that a spark of reason still remains. In the dark, Karnak realizes that the opposite is true: when everything flies away- knowledge, logic, causality- that is when the great mystery of life comes into play.

  The remnants of the blue glow yield scraps of ancient wisdom: ¨Evil can never be wholly burned, for it is needed to complete that for which divine insight is not in itself enough. We gave Seth more than just an inch; we made ourselves into gods. He manifested himself to laugh at us.¨

  Everyday consciousness is creeping back in. Paris thinks it possible to return to his projects. Miam suggests that they should research something more serious than a meme blocker. Karnak is still fascinated by stone. Israel cannot remember whether they actually tried the meme blockers. Miam assures him that it was absolutely fabulous.

  The entire thing begins to reveal itself as an ¨experience weekend¨ orchestrated by Miam. But we do not need to believe this, either. Do we, Seth? Osiris?

 

 


Ooppera ¨Osiris¨, 4:lle laulajalle, tanssijalle ja 35-40 muusikon orkesterille riippuen jousisoittajien määrästä. Tarina perustuu Jani Kääriän uneen ja alkuperäiseen synopsikseen. Libretto Jussi Tapola ja Jani Kääriä. Pituus 60 minuuttia. Suomen Kansallisoopperan tilausteos. Ensi-ilta 3. maaliskuuta 2003 Alminsalissa kansallisoopperan pienellä näyttämöllä. Yhteisesitys kansainvälisen uuden musiikin festivaalin, Musica Novan kanssa. Ooppera esitettiin 5 kertaa, yksi esitys Suomalaisen musiikin päivässä.

Hannu Lintu, musiikinjohto
Henkilöt:
Miam, Tiina Vahevaara, sopraano
Paris, Ilkka Hämäläinen,tenori
Karnak, Riikka Rantanen, mezzosopraano
Israel, Heikki Kilpeläinen, barytoni
Osiris-Seth-Horus, Ville Mäki, tanssija

 

 
Sisältää Jani Kääriän synopsiksen ja Jussi Tapolan synopsiksen

Jani Kääriän synopsis

1.Näytös   Laboratorio

Osiris-oopperan alku on leikkisä ja hippi. Päähenkilöt Paris ja Miam ovat tutkija ja hänen assistenttinsa jotka kehittävät laboratoriossaan seerumin joka poistaa ikuisen nautinnon esteet. He etsivät vapautusta estoihinsa ja kulttuurikarmaiseen taakkaansa, meemeihinsä. Lopulta kaikki on vain seksiä tutkijoille: uskonto, tiede ja filosofia. Vastapoolin heille muodostaa taiteilijapariskunta, Karnak, kuvanveistäjä ja Israel, muusikko. Karnak haaveilee pääsevänsä enemmän tuonpuoleiseen paratiisiin, paratiisiin maan päällä, jumala Osiriksessa. Hän hakee luomisvoimansa Egyptin vanhoista mysteereistä, ja muistelee miten ihmiset kokivat autuuden kuullessaan sistrumien helinän. Israel vain kommentoi, uskoen heidän väliseensä taiderituaaliin. Osiris liittyy läpinäkyvän maailman tunteeseen ja taikaan. Tanssija Osiris näyttää tietä.

Kuitenkin, myös Israel lankeaa laboratorion seerumin ja hekuman houkutuksiin. He tuntevat itsensä jumalolennoiksi, jumaliksi itse. Koska Israel ei anna, Karnak ei nauti taikajuomaa, vaikka aluksi haluaakin. Ehkä siksi, hänen rukoillessaan Osirista pelastamaan heitä, henkilöt onnistuvat herättämään Sethin, Osiriksen pahan veljen. Nyt tanssiva Seth, naamiokasvoinen olio ilmestyy heille. Spirituaalinen näky aukeaa heille. Se on pelottavaa. Seth tuhoaa tanssillaan laboratorion laitteet ja saa näin henkilöiden alitajuiset pelot liikkeelle. Karnak pyörtyy sillä hänen patsaansa on haljennut. Israel pohtii suhdetta muusaansa ja huomaa ettei tarvitse koko naista.Israel rikkoo pelottavan, pahan naamion joka ilmestyy heille. Tanssija alkaa tulla esiin- se joka jo alussa peilasi tietynlaista henkimaailmaa kauniina liitelevänä Osiriksena.

Pelko saa henkilöt vaihtamaan partnerejaan rakkaudessa ja Karnak jopa on katatonisessa tilassa. Paris näkee hänet nyt jumalattarena ja parantaa hänet lääkärin roolissa. Potilas rakastuu lääkäriin, joka rakastuu potilaaseen. Miam on vihainen Parisille siitä, että tämä jätti heidän kloonausprosessinsa laboratoriossa. Henkilöt yrittävät keräytyä yhteen miettien miten selvitä kauhusta. He löytävät musiikkia ja viiniä helpotukseksi. Paris ja israel löytävät toisensa myös homoeroottisesti kun taas Miam ja Karnak heräävät lesbianiseen kiinnostukseen toisiaan kohtaan. Lopulta kaikki tanssivat keskenään villisti ja melkein kun transsissa, paha Seth tanssija ilmestyy jälleen heille. He kirkaisevat.

2.Näytös    Kirjasto

Kuitenkin tanssija, nyt oppaana, johdattaa henkilöt mystisesti hohtavaan kirjastoon. Kaikki tieto tuntuu leijuvan siellä ja henkilöt tuntevat että voivat luoda ilman mitään painetta. Kukin lötää vastauksia omalta alataan.Tähän Miamin salaiseen kirjastoon henkilöt kerääntyvät tullakseen tietoisiksi näkemyksistään ja tunteistaan. Miam laulaa että he ovat ihmistiedon varmuusvarastossa. Löytyykö sieltä vastausta heidän omaan pelkoon ja kauhuun? Isreal uskoo että kirjasto suojaa ulkoiselta viholliselta, muttei pelasta alitajunnan hirviöiltä. Siellä he nyt kohtaavat  pelkonsa naamioiden palasina jotka Karnak on tuonut mukanaan. Karnakille Isis, Osiriksen vaimo on parantanut siellä Osiriksen taiallaan.

Kuitenkin rikkoutuneet naamioiden kappaleet kiusaavat henkilöitä. He päättävät polttaa ne mystisessä primitiivisessä rituaalissa. Liekki puhdistaa, vahvistaa uskoa ja yhdistää riittiin osallistuvia. He tuntevat olonsa ihanaksi ja kaikki tuntuu luovan itse itsensä. Yht’äkkiä salainen kirjasto tuntuu katoavan ja henkilöt ovat taas kauhun vallassa. Sitä mukaa kun tieto hupenee kirjoista, osaaminen tuntuu häviävän myös ystäviemme ulottuvilta. Polttorituaali ja tuli on ollut heille tärkeä ja pyhä.

Karnak ymmärtää että naamioiden polttaminen sai kirjaston hohtavat kirjat katoamaan. Se on elämän suuri mysteeri. Vähitellen he ymmärtävät että tieto on jollain lailla naamiojohdannaista. Tajunta ja luottamus tiedosta on muuttunut pyhäksi polttamalla naamiot. He ymmärtävät että siten pahalla oli osuus hyvän luomisessa. Ja että tällä lailla hyvä on kerran luonut pahan tullakseen paremmaksi, luodakseen asioita joita ei voi luoda pelkästään hyvällä. Heidän näkynsä on heille pyhä ja kun se kulkee heidän lävitseen, tanssija on nyt Horus, Osiriksen poika joka kantaa pyhää Horuksen silmää mukanaan. He näkevät ajan läpi ja toivovat Horuksen silmän tuovan heille taikaa. Karnak sanoo että Isiksen rakkauden ja kyynelten ja Horuksen pyhän silmän vuoksi Osiris heissä palautui kunniaan. Israel kysyy toiko paha Seth heille jokaiselle heidän hyvät ominaisuutensa. Karnak vastaa että ei, vain Osiris voi olla syvempi toivo, ilman sitä he päätyisivät erämaan karusta nousevalle Sethille. Inspiraatio asuu aina hyvässä. Muinainen Thoth-jumala kirjoitti polttamalla heille pyhän Horuksen silmän.

 

Kiviseinä kirjasto hohtaa jälleen. He voivat jo kerskua saavutuksillaan. He haluavat palata projekteihinsa, ja he tuntevat siirtyvänsä seuraaviin, koska he osaavat jo nauttia. Lopulta he hyvästelevät Miamin, huomattuaan että taikakirjasto on valosuunnittelijan lopputyö, jonka nimi on ¨Osiriksen urut¨,ja tanssija on Miamin serkku teatterikoulusta. Naamioiden sanotaan olevan kalliita ja eripuolilta maailmaa. He halaavat ja suukottelevat lähtiäisiksi ja Miam toivottaa heidät tervetulleiksi takaisin.

Jussi Tapolan synopsis Osiris-oopperan käsiohjelmasta

1.Näytös    Laboratoriossa

Biokemistit ovat saamassa valmiiksi aineen, joka toisi onnen poistamalla ekstaasin esteet. He yrittävät vaikuttaa ihmisen käyttäytymistä määrääviin meemeihin. Tarkoituksena on neutraloida häveliäisyyden, uskonnon ja moraalin vaikutus. Paris ja Miam päättävät kokeilla valmistetta itseensä tohtori Jekyllin tapaan.

   Veistäessään Osiris-patsasta Karnak miettii egyptiläisten tunteneen onnen mysteereissään: Isis vietti yön Osiriksen kanssa, ihmiset kokivat autuuden kuullessaan sistrumien helinän ja nähdessään papittarien kauneuden. Voisiko onnen muka löytää koeputkesta, kemiasta? Israel näppäilee kielisoitintaan ja uskoo että hänen musiikkinsa tuo autuuden, kuten Karnakin taidekin.

  Karnak on kuitenkin utelias ja aikoo nauttia jäljelle jääneen annoksen perityistä estoista vapauttavaa valmistetta. Israel ei anna muusansa muuttua nymfomaaniksi vaan nauttii aineen itse.

  Miam ja Paris palaavat sekavina mutta onnellisina. Israel haastattelee koekaniineita ja tuntee aineen vaikutuksen myös itsessään. Karnak ryhtyy opettamaan hänelle Osiris-rituaalia. Palattuaan normaalitilaan Paris ja Miam jatkavat työtään. He näkevät jo uudistavansa filosofian ja uskonnon ja julistavat itse olevansa uusia jumalia.

  Silloin valo katoaa. Tilan valtaa hetkeksi naamiokasvoinen olio, Seth, jota kaikki pakenevat. Karnak pyörtyy. Israel pohtii platonista suhdetta muusaansa ja huomaa ettei tarvitse koko naista, hän selviää yksin. Silloin Karnak herää ja sanoo näkevänsä pelon kasvot. Israel toteaa ne pelkäksi naamioksi ja puhkoo rikki. Vastauksena Seth saa aikaan tuhoa huoneessa.

  Patsas on haljennut, Karnak on sekavassa tilassa. Paris näkee Karnakin jumalattarena ja haluaa parantaa hänet. Miam on mustasukkainen ja poistuu, Israel juoksee perään. Myös potilas tuntuu rakastuneen Parikseen, mutta lääkärinä tämä ei voi vastata tunteisiin ennen kuin Karnak on parantunut. Mikä tapahtuukin.

  Miam ja Israel palaavat kiihdyksissään, he ovat huomanneet kalterit ikkunoissa. Vankeutta lievittää kellarista löytynyt viinilaatikko. Vähitellen tunnelma paranee ja kaikki haluavat löytää uusia puolia itsestään, tanssivat ja hyväilevät toisiaan. Naamiokasvo keskeyttää juhlinnan.

2.Näytös      Kirjasto

Kirjat hohtavat sinistä valoa tilassa, johon Miam tuo vieraansa turvaan. Tässä kirjastossa Miam on lukenut filosofianläksynsä. Karnak, Israel ja Paris löytävät vastauksia kukin omalta alataan tästä ihmistiedon varmuusvarastosta. Mutta löytyykö vastausta heidän omaan ongelmaansa, pelkoon ja kauhuun? Karnakin mukaan syynä on välinpitämättömyys, itserakkaus ja omnipotenssi? Israel uskoo että kirjasto tarjoaa suojan ulkoista vihollista vastaan, mutta ei pelasta alitajunnan hirviöiltä. Sanaharkan jälkeen Paris tunnustaa osasyyllisyytensä ja omankin pelkonsa.

  Karnak kääntyy Osiriksen puoleen. Hän on tuonut naamioiden sirpaleita mukanaan ja muistaa nyt, että primitiivisissä rituaaleissa pahan naamiot poltettiin. Israel tarttuu heti toimeen, kunhan ei tarvitse analysoida enempää. Naamiot kasataan, kaikki laulavat merkityksettömällä kielellä ja tulet sytytetään. Liekki puhdistaa, vahvistaa uskoa ja yhdistää riittiin osallistuvia.

  Autuas olo haihtuu kun huomataan, että kirjoja on kadonnut seinältä ja katoaa edelleen. Sitä mukaa kun tieto hupenee kirjoista, osaaminen tuntuu häviävän myös ystäviemme ulottuvilta. Hohto sammui, Paris toteaa, mutta toivoo että järjen valosta pidettäisiin vielä kiinni. Pimeässä Karnak oivaltaa että asia on juuri päinvastoin. Kun kaikki karkaa, tieto, logiikka, tapahtumien yhteydet, silloin toimii suuri mysteeri, elämän arvoitus.

  Oivallus kirvoittaa vanhoja viisauksia. Pahaa ei voi kokonaan polttaa, sitä tarvitaan saamaan valmiiksi sellaista mihin pyhä oivallus ei yksin riitä. Mutta tässä annettiin Sethille enemmän kuin pikkusormi, ja hän ilmestyi ilkkumaan etsijöitä. Karnak sanoo Osiriksen nyt palautuneen kunniaansa.

  Kaikkien päivätajunta alkaa voittaa. Paluu projektien pariin tuntuu Pariksesta mahdolliselta. Miam toteaa että nyt kun he osaavat jo nauttia he voivat siirtyä uusiin tutkimuskohteisiin. Karnakia kiehtoo kivi edelleen. Israel ei muista, kokeiltiinko näitä tunnemuistinpoistajia oikeasti. Paris vakuuttaa että se osa oli sikaupeeta totta.

  Muu alkaa paljastua Miamin järjestämäksi elämysviikonlopuksi. Mutta tätähän ei kenenkään tarvitse uskoa. Vai mitä, Seth? Osiris?                                                                                                                                   

 

   
There's now an english translation of the operas libretto for the voiceparts available.
English libretto: Jani Kaaria
English libretto translation checking: Simon Wickham-Smith

A presentation:
Jani Kaaria held a presentation at the University of Miami School of Music at April the 16th, 3 pm, 2004 about his 2 operas, Osiris and Serpent, ancient Egyptian spells and his other work such as his symphony Per-Djet.
We listened a couple of performances including one opera. The presentation was mostly social gathering, where we discussed.

Esitelmä:
Jani Kääriä piti aikamme musiikki seminaarin 4.11.04 Sibelius-akatemian T-talossa Töölönkadulla klo 14:00. Seminaarissa hän kertoi Eino-Juhani Rautavaara palkinnon saatuaan sävellystyöstään Miamissa, San Franciscossa ja Luxorissa, Egyptissä.
Jani piti esitelmän 16.4.04 University of Miamissa.
Hän kertoi teoksistaan joista kuulimme audio ja video nauhoja mm. Ooppera Osiris/ Kansallisooppera, muinaisegyptiläiset loitsut/ Tapiolan kamarikuoro, sinfonia Per-Djet/ RSO, sooloteos.

Florida Grand Opera holds the Opera's unpublished video, CD and translation. They had asked the visiting-performance for them from my Osiris-opera on March at the year 2006 fast from the General Director of the Finnish National Opera Erkki Korhonen, but this effort failed anyway. BEFORE that, the famous new channel YLE Teema by it's first steps tried to make a good enlightning document of me after the Osiris's opera's first performance in Helsinki, 3rd of March, 2003. I even tried to ask Kaija Saariaho to join the document and talked long with her son about this. However, when you consider that EXACT at the same time ERKKI KORHONEN has been necosciating with president TARJA HALONEN about spying me, installing to my personal bed room a projector to show images of pyramids and gay Wietnam soldeirs, it's easy to undertsna dthat I for some intuitive reason, refused the documentfinally , and it was hard for an unknown reason to chit chat with Erkki about the rights to use my music starting from the Opera in the document.

Piece for mixed choir You Dispel Light, 2001. Commissioned by the Grex Musicus choir for their 10th anniversary concert. F.p. 7.4.2001.The piece was also part in the choir's intended program in the Amos Anderssen choir competition in 2003 in Finlandia Hall.  Text is based to an ancient Egyptian spell from the Papyrus of Ani. This is the first ever-composed piece of music based to a spell from the Egyptian book of the dead in the world. For example this piece is possible to be listened in this website in ¨recordings and videos¨.

Piece for orchestra, Per-Djet (Ikuisuuden talo) (The house of eternity) , 2001 duration 12'15, commissioned by the Finnish broadcasting company YLE. K.e. Radion sinfoniaorkesterin 75-vuotis juhlakonsertissa, RSO 75 vuotta-muistojeni ilta F.p. in an anniversary concert of the finnish radio's symphony orchestra 20.9.02; celebrating exclusively the finnish composers. RSO 75 years, an evening to remember. Composed partially in Egypt, especially in the special Nile-ship Giza composing in his cabin, and Luxor.

 

Per-Djet is a mixture of emotional tenderness and wild inspiration. The work begins with a trance-like quiet tension with a little scherzo elements in between. Suddenly the orchestra gets power and builds an extremely culminating majestic nostalgy with the trombones and the trumpets. In the end the spiritual theme of the violins takes the work of the next level of romance.

Piece for ensemble of male-voices Bringing of my soul to me , 2002. The second piece based to Papyrus of Ani in the world. ( See: You Dispel Light) F.p.will be determined by the performer. Commissioned by the Cantores-Minores-ensemble

A version for mixed choir of the music piece Bringing of my soul to me based to ancient Egyptian spell; for male-ensemble (see above), 2002; The spell where the piece is composed to, exists in the ¨Egyptian book of the dead¨. The f.p. at the international new music festival Musica Nova at 8th of March, 2003, performance by the Tapiola chamberchoir.

 

The travel story of composing the ¨Osiris¨-opera in the USA, and , as a new, also the little story of composing the ¨Per-Djet¨in Egypt after that:

 

As I was forgetting away intuitively the Saariaho's record: castle of the soul somehow into the taxi in San Francisco's harbour area, I realized to call to Mr. Raiskinen, the head of the Finnish National Opera in return, from the hostel's phonekiosk, I felt very secretly that her kind of music will be left behind and I got my chance to compose. Earlier at the Sibelius-academy at 98 during my last year there, I had presented my thought about a theme of an opera rising from a dream, having had a discussion with director Jussi Tapola.

Looking the boys in their shorts in San Francisco  temperature about 12 celsius I felt the wishfulness matched to me. Playing ball. However, looking at my bank account I felt my brother had stolen money, since he originally was supposed to come with me to Miami beach when I originally had begun the composing at the Ocean Drive 1500 Miami beach.

Returning from Frisco I saw different apartment opportunities through, their ¨die in the sun¨

and the prize. I ended to by suggestion and proposal of Dr.Dennis Kam from the University of Miami, applying there I had got a recommendation letter from Kaija in the last spring of studing with her, to Kam's suggestion to live with a man from the University who was studing there also at first year by his own money. I ended for awhile to his nice locale. I begun composition wishfully aiming to a commission, and being sure about that sended the first material by post to the Finnish National Opera to director Raiskinen. Then I visited the beach (Miami) and saw the ¨West avenue¨ to be a perfect location for work of the opera. There was a party with a grand piano, I left at some point as they went to a bar and at the bus returning saw a nice black guy obviously performing in a bar make up still in his face, a spiritual guy who winked to me as I didn't dare to have sex at the night in Miami metrorail's toilet, it was boring but also didn't dare to invite him to that guy's home where I was stying.

 

Back then, I dreamed of him and now I realize that it was still him why I later after getting the commission dared to go to buy a good Korg keyboard which music store, Miami's only one  was at the odd place somewhere in the distance of where the noisy poor blacks live. For example because of this, it was not so obviously easy to start composing at the Miami beach.

 

The finnish National Opera paid my flights before getting the commission to Finland as the radio choir promised to perform my own choir work texts imagionately collected from the bible beautifully the spirit ending to bird's joy in the Musica Nova festival.Now I feel that when I alone composed in the Miami beach's nostalgic highrise at the 16th floor, those birds of the song came to eat to my balcony, returning ever after. 

 

In Finland, after this Musica Nova comcert, I asked in the finnish artist's restaurant from composer Thomas Ades, since Johan Tallgren had told that he has an ¨army¨of gays arond him, if he wants me. Just curiously and a bit elegantely teasingly. But he said aloud that ¨No!¨. And the boys continued their chat. Little I there commented something, but left then that leading to nothing. In the nightly Helsinki, I saw a frind who I had once during my studies been attracted to. We changed a comment. Originally, I had been a little bit attracted the way Thomas Ades composed in his opera ¨Powder her face¨the erotic scene in the hotel room, which I saw in Alexander Theatre, the same opera house where I performed already as child and teen the shortened version of Magic Flute, and later in Miami Beach the musical expression of Ades in that his opera pushed to me power to start working my erotic passages to my opera ¨Osiris¨, both hetero and gay, but even more, the gay ones.

 

After one mounth I was nervous and the Finnish National Opera had been already writing the contract commission, as I nervously called what they are up to. Then it was karma. I was quite nervous but it ended well. An additional contract for the pianoscore he didn't promise to make. but an amount was mentioned, whereas the commission was 100.000 marks, an additional 50.000 could be paid of the pianosore in a long run.

 

Returning to Miami beach, I lived 2 mounths in a nice, a little lazier hostel close to the library and the school of the Beach on the 21st street. One guy told that most people use drugs at the area. I wrote a bit notes without an instrument. Then I ended to dumpiest hostel in the area, but to talk to Dr.Kam was what I wanted to do. He promised to take my stuff for a mounth as I got my performance-yearly salary and travelled to Finland. The commission was marked so, that most of the money I would receive after the composition is ready. I travelled to my mother's place in Finland and contacted Aina-Swan Cutler, who had originated a prize I received earlier, the Einojuhani Rautavaara-prize. I needed to pay the University 5000 euros to begin there. It was a teaching-assistantship deal, but 5000 was needed for a student's fairs. We met in Helsinki, and I returned to Miami beach. I found a new bank, a nice latin-originated bank account. From a trendiest hostel with a several friendships with german and french boys, I went to the University to teach the beginners every morning drinking strong cuban coffee. I had also visited New York twice, going to Metropolitan opera, museum of the arts, guggenheim museum, concerts, meeting composers, such as Aaron Jay Kernis who gave me a lesson, and others in a society's meeting, and the publisher Boosey&Hawkes.

I ended to a situation where I needed to choose between teaching at the University and composing the opera according to the man who was responsible of the teachers. He thought that I didn't give enough time for the University, eventhough Dr. Kam , who originally invited me there, was satisfied. Just having received a beautiful apartment at the Beach, 16th floor facing the atlantic ocean, I felt that my ¨time¨to compose a beautiful opera had come- I chose the composing and stayed there in Miami. Dr. Kam thought that we had known each other forever. The University of Miami had several ¨new music¨concerts, so it was not boring at all. Later, I presented there two presentations, which helped me, as I stayed in good relations with them

Composing went fine untill a hurricane threated. I went to the University to be safe and met a nice man, a student of literature who later came to visit me and with whom we went to a wildest disco ¨Salvation¨, a gay disco. After, I was able to by inspiration to compose all the gay affairs freshly to the score.

Later, a bigger thunderstorm returned, this time bigger, and I ended to downstairs to ask the woman in reception in that luxorious marmel panelled floor if it's safe to be there with the hurling winds. The woman had been the one who accepted me to live there in the building originally. She said it's safe and that they had always survived over the decades of all the catastrophes. So I went back to my apartment and begun in composing the ¨Seth-figure¨music to my opera winds hurling to the windows.

 

Everthing went well, untill I saw a cockroach at night beside my bed at the wall, and went to the kitchen and that was full of them like in a horror movie. I got horrified but didn't do anything and fell back asleep. Besides that one time , they didn't come to the living room. (studio)

I went to ask, and next day the white-dressed poisoners took care of the kitchen, cleaned that by putting ¨stuff¨ to every corner.They never returned, the cockroaches, never. At that time, I also met a finnish woman living in the reigon, who borrowed me financial help 1000 dollars. She lived in Key Biscayne. I had a situation of finishing the first act:s pianoscore, and I needed a friend. So, I invited my little sister from Finland to visit, paying her trips she came. I also received a sholarship from Finland then. We did all I had experinenced there dining, going to art galleries, listened New World Symphony performing, visited the University and all parts of the city. I quess it became her rest of her live's karma receiving a child soon after her trip. And I got my rest. I played Debussy at the church in the finnish area, got a sholarship from florida and also lended some money from a nice finnish person to go on. My little sister left happy and I went to spend my christmas (and my birthday) at Eeva Mussachia's place at the Key Biscayne. People sung chrismas songs and I played the keyboard. The TV- cook Sikke Sumari was also there. Just as Victor, Eeva's son, touched the keyboard and our looks met, it was time to me to go home to the beach. After this, I composed the mystical ritual with dramatic nonsense-language for the opera. I had bought funky black trousars and wonderful, colorful shirts of a kind you can't find elsewhere. For amoment I thought that maybe Victor wants to learn piano, but it never happened with me. 

Earlier, I had got to know well the presentators of Romero Britto Gallery at the beach, Lincoln Road, and as I was composing the fire-ritual, I felt spiritually as if the nice older woman would have got a heart-attack.That I never asked, but I remember someone later to have mentioned me about. I decided back then, to compose my most dramatic part of the ope ra, the ritual and the deeper insights. For me this kind of conciousness between the good and bad also means that I don't have to deal with the dodecafony, which forme is absolutely rubbish as a music. Many times I remember at the years of studies in Finland how I had to recover from a serious, bad feeling of concerts of such music.

 

In my home, I had no TV, just a small radio at the floor, where I lstened over and over again, a beautiful, strong performance of a latin female singer. Sometimes I went to walk to the pier, and once I quanced a big snake there it to become ¨frozen¨and staring with such eyes. Well, the second act became ready, so the total pianoscore was ready. Then, my money went to end, somehow the amount coming to me was stuck in a bank in Philadelphia, my electricity failed as I went to beach wondering, searching for a help. I ended for a one night to ¨mental¨help home, took no medicin, but through that, they contacted the Finnish Nartional Opera, and mymoney was fixed. I got a little less than it was promised of the pianoscore so I thought I have to hurry, and planned passionately the orchestration.

 

I tried to go to Finland to ask Mr. Raiskinen to change or develop my contract so that I would get more money now, when I needed it to work, and not after the score would be ready. Still, they were unwilling to change or develop the contract.Finns never bothered to travel, except my little sister with my support to Miami to see what way I was working. I got the return flight paid by my friend, Pirkko-Leena Otonkoski. This time I flyied via New York, where I thought I received a nicest gay kiss of my life in a leather-jeans bar when I earlier was there.  Unfortunately, I fell asleep in the guy's home, and he called for ¨cops¨. I managed to escape. Next day meeting with Boosey&Hawkes in a concert and a wietnamise restaurant, I paniced, and left fast. I didn't feel I reached anything, even they were in an earlier meeting very interested. Then- I never returned to New York.  Back in Miami, a good freind, Kaija Kalervo still managed to find me a small scholarship from New York as I continued the composition or more planning the orchestral score. Kaija lived in Lantana, Lake worth, and to get there, (I was broke) I received  travel-mony from a fantastic girl on the beach, a Great painter Vesna Vera who I had become friends earlier. She played my music in her art gallery by a CD I gave her to her guests.  Still, I started to get worried. Even that money would not cover my rent for the next 4-5 mounths, what it would take to compose the orchestral score. When still in Finland, I had contacted to San Francisco to Irma Järvenpää, who I fast met in Finland while she was there. She had said when we met in Helsinki railway station that San Francisco is so nice- a wonderful city for opera composing. Not Miami-an obvious contradiction in the minds of the Finns. Finland-a such a small nation-tense.  

 

Back in Miami Beach- I felt the safety of my ¨home¨, and tried to find safety just living there- in a city I had learned to call home. Since I was soon at the end with money, I tried to apply to Florida Grand Opera's choir. I had gone to performances there, and felt it was a nice company. They accepted my application- my english was good enough, and a day was set for the audition. At the same time I had written emails to Irma Järvenpää explaining how hard it was with the finns concearning the contract. I didn't know at this point how I could go on composing. Suddenly Irma Järvenpää wrote that she could ¨borrow¨ 2000 dollars and I could come to live and compose to her backyard's cabin. That was a wonderfull opprtunity, and I wanted to take that. Still, I loved Miami and I wanted to apply the choir. The TURNING POINT was that Irma told I should come excatly at the Same day, as the choir audition was. Then I had to choose that. Finishing the opera was my priority, what I had been choosing all the way long. I sent my ¨stuff¨ , the big keyboard, and other stuff to California, and left in sorrow my wonderful apartment- I had loved the Beach. I flew there by a ticket from the beach, a special latin office. From Fort Lauderdale this time. In the plane I drank ¨Bloody Marys, that became my San Francisco Drink. It was exciting. and nostalgic. As I arrived San Franciso, it was quite untypically, very warm, about 32 celcius. In the back yard cabin there was a computer, but I didn't need that. I worked 8 hours a day, she carried me food sometimes to the cabin, and in the evenings I drank wine in her backyard explaining about what problems I had, with the contract and all. I went by myself to San Francisco from Kensigton, and got to know it a lot. With Irma we participated meetings with the finns, and a church concert, where asian performers playd Taiko hard. I loved it and decided that Taiko drum would be in my opera. I met Val Novanto and Gunnel- older finns who had lived ages in San Francisco in a ¨ball¨and it was good since I didn't know what was going on behind my back. Irma had explained what a monster her husband is, and obviously talked very much of this. I was quite tired also, composing went well, but as we participated the finnish ¨midsummer¨party, I had been seriously ¨drunk¨ and next day Irma came to say, that she got rid of her husband, and now it was my turn to leave. I got 24 hours to skip the place. Earlier, a decent and good thing, we had participated a seriously beautiful home concert in a nostalgic home by the ocean, and bay.

 

The Consulate asked me if I have an affair with Irma when I asked for a help. Little more they couldn't do. Then I realized to contact Gunnel and Val, and after some hours, as I was packing- Gunnel came with her car, and took me to her home where I left majority of my stuff. We gathered to think about my situation, and I ended to Val's little studio, and it was obvious that I could not stay there. Being in a very good mood, and getting to mood of fun, Val said suddenly that there's one his friend, Henry living close to the gay district in an area called:¨Mission¨ We went to his home, offering to take a look at my ¨contract¨, swaring to him that I could pay later the rent for him, if I could come to compose and live with him for the rest of the summer. He agreed immediately, he had a 3-room apartment full of scary and nostagic ¨masks¨in his home, a suvenier from his time of being trip-manager around the world. A VERy interesting thing as in my opera's story the characters wonder¨scary masks¨. Well, little by little the orchestral score became very colorful with my Korg keyboard.

My room was full of his stuff, but a good table, and an plastic travel bed full of air. I had a little nice window, where I could see the beautiful garden Henry took care off. He always dreamed of warm weather, San Francisco's summer proved to be mostly quite cold with fog, but I didn't care about that. Composing was going so well that I forgot all the difficulties. I swam, and wanted to visit all the little pools the city had to offer, and for party, I went to latin gay disco: Esta Noche. With Val we visited San Jose's egyptian museum in California,  and with Henry present park concert and gay party, the big march, the pride. That was very colorfull and massive happening even all the families with children presented.  Henry also took me to visit his friends in the gay area. I enjoyed the whole San Francisco, and worked great- starting from my own visits to Alcatraz and the nostalgic restaurants by the harbour. Once I even ended to bed with a mexican.

Every evening-after the composing, I held Henry's cat in my laps, an hour it relaxing my thoughts. Watching from the TV : Who want's to be a millionaire and the third rock from the sun. Every day.

 

One night then, Henry came drunk home, and sung a stupid song, ¨My roommate is not a gay--ayy. I had almost finished the orchestral score, and wondered what he was doing.Henry said finally that I had composed a master piece. He was a spiritual person. After receiving my salary-share, I wanted to go some place where it is warm. Last time meeting Val in the famous Cliffhouse, I packed my things and flyied to Los Angeles. There was all kinds of curious british youngs in the hostels, and I had a little relaxation walking with a hat very tired of the work in the Venice Beach. In the water, I met some sensual people to play with. I saw the down town and Malibu and Santa Monica. Was even offered work to compose to a war-document music. I didin't know enough about using computer, so didn't acceptthat work. After 6 weeks of wandering around L.A., also Long Beach gay bar  I returned to Finland. Finnish National Opera had received their opera, a commission by them, ready and in time. My living in the USA was over.

Still, my wearing Tutankhamun was not over. There was new adventures to wait for me. I had read during my stay in the USA theEgyptian book of the Dead, and I had seen already when finishing in Miami Osiris's pianoscore spiritual sights about Tutankhamun's ¨serpent¨crown, and the coffin, I continued in that spiritual path, and composed a spell from the Egyptian book of the Dead, a fair, honest feeling spell, (also chapter. You can listen to it in chapter: ¨recordings and videos¨with the name ¨You Dispel Light¨.) to a choir that had roots in my high school time, a good youth choir. While composing- I saw more sights about Tutankhamun in me, in my soul, and after it's performance I was ready for more adventures- going to Egypt for the first time.

 

I came to Egypt having a briefcase of notes, meaning to Compose in Egypt an orchestral work by the commission of the Finnish Broadcasting company. Finding the perfume of Tutankhamun, seeing his childhood's city, Tell-el-Amarna, and composing in the Nile-cruise, and receiving a thousands years old lapis-lazuli Horus eye-jewel, were the results of the first trip to Egypt. I composed my favourite work of mine: the¨Per-Djet¨. It's such to an eternity longing work, where everything in it's breaths, and sound about ¨true¨ finding, a true mystical finding of pharaoh Tutankhamun is present. Somebody said to me that the work is off time and place, so strongly mystically ¨romantic¨work.

 

Now,after 6 other trips to Egypt, and after one residing there, in Cairo, I excpect the performance of my Celloconcerto: ¨the distance of love¨. That work is equally longing to majestic mysticality, and romance thereby. After many steps of balancing myself from the mystical sights by finding wonderful people in Egypt, and by becoming more secure about my understanding about the mystical things, I'm willing to compose in Egypt a true work of a miracle- An opera Tutankhamun-like after all this, I would remember his life, and could reach to thousands of years back creating a miracle, a mystic music, a longing and romantic music of young pharaoh, his deep soul, his problems and understanding. I hope my futurecoming time , years in Egypt will bless me by their variaty, such as the years in the USA really blessed me to open a True path to my real needs, in art music, and all kinds of really innovating thoughts.

 

Jani Kääriä

 

(To be continued some day...)

And now I continued...mhhh...Before I was in Egypt for the first time, in that same trip, I fast crossed Prague, Chekoslovakia, enjoying much. I experienced a variety of chances erotically, swimming, meeting a varity of people, realizing something about the dwelling incredible athmosphere of the ¨sleeping¨incredible royal dwelling somewhere there in the air. That was curious. I tried to freely bretah the air and do in the style of having been very clever in travelling in the USA, with the same free attitude to explore the city. I enjoyed. I always mention people how Prague must be the most beauttiful city in Europe in spiritual sense. At June, 2001 in summer when i'ts hot in Egypt, especially later in Luxor then, about 45 celsius, Through visiting first egyptian museum, then Kheops pyramid all the way up by a horse. I actually stayed a long time waiting my first-ever chance to raise to a horse what was promised to me, buing then an aerial ticket. We slowly rode with the horse closer to the pyramid. Finally the man said that the ¨big pyramid is closed¨. I was feeling ¨flowy¨, and said to the man that wait up, I run to the pyramid. I walked towards the entrance and without an actual ticket just like that walked inside and enjoyed so much of the feeling. A long time I felt sensational remembering actually what Kheop looked like. Riding back, we rode very fast with the horse and I was amazingly pleased. On the way back we visited Imothep tomb very nicely with a camel person there ¨hinting¨to me and all,  from there with the train to El-Minya, from there to Tell-el-Amarna PST-tank protecting my path I began composing my Per-Djet symphonic poen, that lasts just 12,30 minutes. Anyway it's nostalgy is real. There I wondered to my soul appearing soul of child Tutankhaten in the Tell-el-Amarna while children tried to sell me pieces of cheramichs which I never bought. Anyway, I enjoyed and was able there to find the meaningful cromatics and estetical positions for the violin ¨beginnigs¨ of my Per-Djet work's first,pianissimo passage. I was proud, and composed the work mostly through in two places: First in the Nile-ship ¨Giza¨where they put as a horrible rememory a cat's head wearing my clothes while we visited in the temple of Sobek as my horror memory that waiting in my empty room. I was quite pissed off to the crew, but continued beautifully the work, more guests in the ship being exactly the Freanch. However the small minority was germans and I joined the temple visits with that group.since I never learned freanch in the school. The ¨turning point¨at the composition was the entry to the tomb of Tut the first time, what I experienced to having been the most romantic experience of my life. I took the liberty to check the area close the sarcofagus, and saw there vases what I expected to be the organ containers of Tutankhamun in the original Jackal room. The lights went off, but my driver took me to the area of the tomb diggers, through Seti 1 death temple, he was one of them, and gave me with 70 dollars in travellers cheques an ancient egyptian Horus-eye jewel made of lancient lapis-lazuli stone, what I put to my neck back in Helsinki. UNFORTUNATELY it was lost about 4 years later since I tried to change the chain and the noise was too loud in Helsinki, I lost my concentration in the street, and it fell from my hand to the street and I never found it again. That's such a shame. The aeroplanes and bombing sounds should have never happened in Helsinki. Who's to blaime? I quess the whole government.  I ended the composition in ¨Shady¨ hotel composing in Luxor most of the rest of the work, just little remains of the orchestration was left to be done in Helsinki. That way, the work was performed in the University Ball room, big place, in the center of Helsinki close to the big dom, and never yet, again. I don't know why, but I love the work, as also my yet unperformed Celloconcerto, the Distance of love which music, I, a small bit, very elegantelly can now apply to my opera. ¨Tutankhamun¨¨. Welcome to the concert if the finns dare to perform the ¨Per-Djet again! And to perform the new, most beautiful, great celloconcerto ¨The distance of love¨ out of longing to my boyfriend in Egypt, and of longing to Egypt's funeral area mostly, to Luxor, and so on. Welcome to Helsinki, if soon, the finns dare to perform these works! I will put information to my website as soon as....!

 

An addition: Just before the ¨Osiris¨-opera's world first performance at 3rd of March, 2003 I travelled back to Miami Beach by the stipend by the finnish Wihuri-foundation.staying there in my most original address: Ocean Drive 1500. I was also then during this Christmas holidays in Miami hearing the boy's choir performing at Bayside. It was not the West Avenus area where I had composed, but the Beach area. I remember I finished the second ancient egyptian choir work then, and in especially practised wonderig the beach thorugh nostalgically during the evenings walking the waterside even with bare feet, to realize of how I would present my opera to the media. It was all relaxing and I was ready. I especially thought a lot the god Horus, that that WOULD be and is deeply in the opera's final sights, even as a god, not yet written in the libretto. Then, when I travelled back to Finland, the director Jussi Tapola had writeen Satan to my libretto and made horribel repetations to the music regarding the final sights in the last scene. I BOLDLY LEFT THE PRACTISES and called to him I COULD NOT TOLERATE ANYTHING SO AFWUL: Then we made an arrangement to meet next day, and I had visualized in mmy mind of how the lyrics would involve the god HORUS instead, and JUSSI TAPOLA dais :¨That's wonderful lyrics, and he said that he has to now apologize OSIRIS HIMSELF. ALSO, I had already composed the two first ancient egyptian spells where the HORUS is created, or invented to the world, originally in the ancient Egypt. ALREADY, the firsstly composed spell 125 A depicts that kind of ¨victory¨over evil which is close to more heroic way of viewing, and finally exactly during this trip I had finished musically the spell 89 which is also in ¨recordings and videos¨sung by the Tapiola Chamberchoir then at the time of Osiris-opera, where in fact the HORUS is exactly invented to the world. THUS, IT WAS EASY for me to present the thought about putting the HORUS finally to my opera's good lyrics. And somehow, I was musical enough to find immediatelty the correct phrases to work the thought into lyrics. THEN I was pleased and again, the trip to Miami has prooved to be worthwile. In Maiami, I also had met someone from Florida Grand Opera during that visit, and once they were then building the new Florida Grand Opera, it was only in it's start, but they dedreamed of that, I THEN, since OSIRIS WAS NOT ADVERTIZED IN TELEVISION (well fast it was previous autumn) but not during this MuSICA NOVA 2003 atall, (instead they advertized Chinise new music) I was VERY DISSAPOINTED, one interview I had with the radio, and a couple others with the press, ANYWAY being that dissapointed, I had to send the video of the opera afterwards to Miami, to Florida Grand Opera, I HAD TO, it was the only logical thing to do. And also to the University of Miami what I now then tell in about my next Egyptian trip what was waiting for me next. My second trip to Egypt was at year 2004 one year after the ¨USA composed ¨Osiris¨- opera's performance with the sholarship by the Finnish Cultural Foundation. The idea was to compose a new opera ¨Serpent¨. In Cairo, I tried to go to Kheops pyramid, but this time I had to face a horrible sight in the local cafeteria before trying to enter the pyramid. A nice looking young boy served the local water-pipe smokers without legs in the center of them with his youthful charisma. Perhaps because of this sight, I never went to the pyramid at that time. That's why I started to get the know more Luxor in this visit. I enjoyed again greatly Luxor, where I somehow became more attached to the locals, local athmosphere. This time it was real. I knew it would be something for me in a long run. I get to know very handsome young men during my visit. One taxi driver tried to force me to go to Seti 1 death temple with Americans, but I already was there at year 2001, so I immediately jumped off the taxi. The guy who saved me, I enjoyed a nice evening with. Earlier, I had met an older amn who introduced me to youths in Luxor west side Nile. In this visit, I now in Luxor rode with a horse, but unlike in Giza 2001 this horse was a slow one. Many times I've wondered afterwards, if I could find a fast horse in Luxor. I passed in my flights Budapest this time. After this trip, I ended back to Miami Beach to have my presentation at the University of Miami, them showing ¨Osiris¨- opera's video that I had sent them earlier, composed in the Beach very near water swimming everyday in the ocean in the mornings, my NEW OPERA SERPENT. I then continued that in Helsinki. Unfortunately, it didn't get receive more funding and the only negosiation with Erkki Korhonen the then General Manager of the Finnish Nationaal Opera about it's commissioning didn't leed to anything. He said back then that maybe if Barcelona Oper, Gran teatre del Liceu, who had sent me some nice answer about that opera, participates, he could do something. But it ended there and fast, all about that opera.

Later, I started to have more sights, first fast sights, then realer memories about pharaoh Tutankhamun which I ALL fast marked as possible new libretto beginnings and that way finally in many shares was written the BETTER LIBRETTO, A REAL FOR AN OPERA, LONG BUT COOL, TRUER, mORE IN HISTORY DEMANDING AND CORRECt. Those first versions were in those years what I did. I also begun to paint the first time of my life and painted more than 10 paintings about pharaoh Tutankhamun's ¨ways¨in the ancient Egypt, so that I have continued the painting-hobby later with similar attributes and more. In addition, I composed a mystical solo-dance ballet for a chamber ensemble and a dancer, ¨Bicyclist and a green scarabee¨.

Then when I received my next scholarship at the beginnig of the year 2011 by the Finnish arts council that in a way continuing still the same spiritual journay as a good composer, I immediately left to Egypt, to Luxor again. That was in the time of the revolution in Egypt. There I met my future boyfriend in Hurghada, where we were insisted to move from Luxor already after one night there seeing only Tutankhamun's tomb's present condition, that he was lying there outside sarcofagus. About my private life I of course don't explain everything, but a mounth I then lived with the sholarship in Cairo with Yaser, and it was good. We also then saw that time's condition of the museum. Finest treasures were gone already.

Howeever, upon returning home, I nostalgically composed my new celloconcerto, sSTILL NEW!!!!!!!!!!, in some way, unperformed, even it is the same spiritual and clearly in many aspects same professional path. Then after finding him, I never dared to return to USA anymore, and francly since they still lie stupidly they were once in moon with the Arizona filmed clips, Anyway, I'm able to more and more use the in Miami composed beginning of opera ¨Serpent¨ in my opera Tutankhamun, it seems easier and easier to reuse that music, use in wisely in Tutankhamun opera, ALL IT'S DRAMATICS. I don't want to go there. I composed the work ¨Distance of love, the celloconcerto In Helsinki and then immediatelty returned to Hurghada to my boyfriend, which city I've now learned to know a bit.

BUT MY PATH AS LIBRETTIST WAS JUST IN THE BEGINNING. After those trips, I dared to write a true romantic libretto about pharaoh Tutankhamun. At year 2013. After that, I again came to Egypt at year 2014 to check on everything with a girl who paid my visit. It was fine, I even went back to Kheops pyramid, and close the pyramid of Senusret, visiting his pyramid builder's tomb also, and visited the museum noticing everything was lost, seemingly about 38% of the treasure was anymore there of Tutankhamun's. Visiting in Luxor Howard Carter's home was also in this trip's program. It was nice the whole trip, we experienced also a private belly-dancing performance in Luxor. And in Cairo, had the Nile late night cruise. However, it was the time of Ramadan. Alchohol was served only in the hotels. At the end of the visit, I met my boyfriend again in Hurghada then our stay hosted by an older finnish lady-friend, there my boyfriend was in his shop. At the end of that year, I visited him again in Hurghada. What a fancy visit. However, I got a lot of strenth to go on with my more professional libretto about pharaoh Tutankhamun. At years 2015-2016 I wrote it all the way through. It was my special time as a librettist, a new experience to be complitely a librettist. As far as the ancient egyptian spells are concearned, comparing that to ¨Osiris¨-opera nad during that period composed ancient egyptian spells, in TUTANKHAMUN-opera I use especially the great, long virgine and powerful spell 17 which exactly was written during Tutankhamun's reign. That's good and proper thing to do. Now, I expect the commission, and try to compose the work in my home in Helsinki. But the opera will be long, about 3 hours 45 minutes, and I WILL COMPOSE IT IN A LONG RUN IN HURGHADA. I want to open and ¨opera¨ the tomb of Dimaskeer, Simaskeer, and Maya in Luxor and compose the opera in Hurghada.  Through opening the tomb, I need then another apartment in Luxor.  One day, I will there also present a thought about a newer kind of an spaceship. OVER NOW.