Concert evaluation The star of Saariaho’s new opera, Vilma Jää, performed in Espa in August and cooled the temperature by at least a couple of degrees.

Vilma Jää makes clear music on gloomy themes.

Vilma will stay in Ethno-Espa on Tuesday afternoon 10.8.

Vilma Jääskeläinen has taken a suitable artist name by truncating his surname: Ice. His singing voice really sounds as bright and cool as ice.

Vilma Jää received international attention for her role Kaija Saariahon Innocencein the opera. Now he was heard in his own concert in Etno-Espa.

Organized for 17 years, the park festival usually gathers a busy group of music lovers and passers-by. Even now, the area between Espa’s stage and the Chapel was loose, but the opera’s attention didn’t bring a more crowded folk music gig than usual.

The audience was comfortable, but not crowded.

Oman to his music Ice draws from a tradition he sweeps into the modern, as he himself lined up on stage. The ice songs have been made with electrical backgrounds by the producer Mikko Renfors, but Espa accompanied him Inka Pohjonen. The duo’s stems sounded handsome.

Organic and folk musical nuances were added to the electropop by the crickets, kanteles and other instruments recorded on the background tapes. The Ring of Cowbells might have been synthetic, but it sounded pretty real. In places, the sound was intimate, but at times it roared big.

Already the presenter announced that the songs deal with gloomy things, anger, sadness and revenge. That’s what they really did. Even in childbirth there was a loss of life nearby, which, of course, was true in the past. Kaisan’s revenge the bloody fantasy was a sheer feminist ancient platter.

About the songs probably coming record. They work well when alive. The cool electrical backgrounds are compatible with the bright sound of Ice. The gloomy content formed a dramatic contrast to the bright world of sounds. The sunny park seemed to cool a couple of degrees.

Some song Ice almost raped. In spite of everything new, many lyrics still separated the Karelian cadence. The whole was a bit like a futuristic version of a science fiction film from ancient traditions.

Vilma Ice was accompanied by Inka Pohjonen.

Folk music in modernization Ice kind of continues the line that was already drawn by Värttina a little over 30 years ago. It was then that traders of tradition were horrified to include electronic instruments and rock influences.

Maybe now when listening to Ice’s ethnoelectro it is just as old-fashioned to long for “real” instruments, but inevitably one wondered what it would have sounded like if crickets, kanteles and others had played in the hands of musicians on stage.



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