Vocal characterisation of the dramatis personae in Paavo Heininen’s Silkkirumpu op. 45 and Kaija Saariaho’s Adriana mater

Abstract

This article discusses the composer’s contribution to the vocal characterisation of the dramatis personae in contemporary opera. The composer can formulate the musical and expressive content of the soloists’ vocal parts to create a distinctive musical identity for each character. Throughout the course of the drama, the characters’ changing attitudes, emotions and moods are expressed through transformed constructions of their vocal parts, and the meanings are mediated to the audience largely through the combined effect of the various components in their vocal characterisation. By observing the vocal characterisation, as indicated by the composer in the score, vocal parts must thus be approached as compound analytical objects, in which various dimensions combine to create the appropriate musical and dramatic effect. This article describes the vocal characterisation of the dramatis personae in Paavo Heininen’s opera Silkkirumpu (The Damask Drum) op. 45 (1981-1983) and in Kaija Saariaho’s Adriana Mater (2005). Heininen’s The Autumns (1970) for mixed choir and Reality (1978) for soprano and instrumental ensemble are introduced as pre-works of Silkkirumpu. The examination of vocal writing in these pieces thus extends the discussion to vocal music other than opera. Following a brief description of the concept of vocal characterisation in general and an introduction of the analytical approach, the text focuses on musical examples. In conclusion, it is suggested that the analytical approach could be extended to include the unique aspects of vocal performances.

Keywords

• contemporary opera
• vocal characterisation
• Paavo Heininen
• Kaija Saariaho