Kristiina Helin

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	<title>Kristiina Helin</title>
	<link>https://kristiinahelin.com</link>
	<description>Kristiina Helin</description>
	<pubDate>Fri, 27 Mar 2026 17:37:41 +0000</pubDate>
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		<title>home</title>
				
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		<pubDate>Tue, 27 Jan 2015 16:08:34 +0000</pubDate>

		<dc:creator>Kristiina Helin</dc:creator>

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		<title>Work</title>
				
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		<pubDate>Sat, 06 Apr 2019 12:52:23 +0000</pubDate>

		<dc:creator>Kristiina Helin</dc:creator>

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		<title> About </title>
				
		<link>https://kristiinahelin.com/About</link>

		<pubDate>Tue, 27 Jan 2015 16:10:35 +0000</pubDate>

		<dc:creator>Kristiina Helin</dc:creator>

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&#60;img width="1485" height="2000" width_o="1485" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8c30709e82543ec49f339a672d218da38a212a82fc72cf2a9b6b408acfef500f/Kristiina-MaricaRosengard-6.jpg" data-mid="203772019" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/8c30709e82543ec49f339a672d218da38a212a82fc72cf2a9b6b408acfef500f/Kristiina-MaricaRosengard-6.jpg" /&#62;&#60;img width="4870" height="6032" width_o="4870" height_o="6032" data-src="https://freight.cargo.site/t/original/i/1bca12fa2421daa0ccf3c1b4c9426c6ba9df94cfdc689230b21e1fd5e2193e57/SK-A-5000.jpg" data-mid="203772022" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/1bca12fa2421daa0ccf3c1b4c9426c6ba9df94cfdc689230b21e1fd5e2193e57/SK-A-5000.jpg" /&#62;
Photo Marica Rosengård/2024 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Photo&#38;nbsp; Rijks Musem library
- “I said somewhere that it was not enough to hear the music, but that it must also be seen.”
Igor Stravinsky, The poetics of music (1939) -- Gubaidulina's music traces an impassioned commitment "to restore a sense of integrity" to both art and life. In this sense, her music is unabashedly re-ligious: it finds and binds the fissures which mark human solitude, with a brazen honesty rare in music even today. As she described herself, "I am a religious person... and by 'religion' I mean re-ligio, the re-tying of a bond... restoring the legato of life. Life divides man into many pieces. There is no weightier occupation than the recomposition of spiritual integrity through the composition of music." -

Music Stage Director Kristiina Helin studied acting at East15 Acting School in London, England during 1989-1991. During her final year, she was accepted to study with the&#38;nbsp; Odin Teatret, found by the legendary theatre director Jerzy Grotowski and decided to leave the school before graduating. &#38;nbsp;Engouraged by the Odin group,&#38;nbsp; she followed her intuition to work with the body and left to United States, Los Angeles to study butoh dance. Butoh was more than dance, it was a way of living. &#38;nbsp;After a year she was reccomended by her teacher to move to Japan and study&#38;nbsp; choreography with a Japanese butoh dancer Min Tanaka and his group. The work and the study at the Body Weather farm in Japan, turned out to be a turning point in her life. At the farm she also met a long time friend to be Lemi Ponifasio, &#38;nbsp;a choreographer and influencer of our time.
Returning to Finland in 1994, to the middle of regression and unemploiment she was drawn back to her youth passion, classical music and singing. By share need to survive she applied a job as an assistant director treinee &#38;nbsp; from Sibelius Academy opera faculty and got it. &#38;nbsp;She was trained to become an opera director by working as an assistant director in Sibelius Academy and later the Finnish National Opera. In year 2000 she found her own opera company Graal Opera and produced her first work as a stage director in collaboration with Mariinsky Opera Academy. Suprisingly the esthetics and surrealism of a very minimalist art form, butoh, &#38;nbsp;seemed to link with opera, at least in her own mind and imagination. 
Kristiina Helin has worked as an independent artist, director, choreorgapher, videoart- and lately also a costume designer and co-producer close to 30 years. She has consistently sought out the margin instead of mainstream music theater, partly because&#38;nbsp; she found working with independent and original groups (and most of all, rare performing spaces) inspiring and revarding. 
Within the past decade, &#38;nbsp;the collaboration with the Helsinki Baroque Orchestra and other independent orchestras, making concert visualisations and semistaged productions, have formed an increasingly important part of Helin’s work. She find’s the productions outside institutions essential for the healthy development of the art of opera and music theater, for her this is not a threat to traditional opera at opera houses, since they tell their own interesting stories, in their grandiose way.&#38;nbsp;
Helin has worked with the conductors of older generation like Esa-Pekka Salonen and Hannu Lintu, as well as with the young newcomer and influencer, &#38;nbsp;conductor Lorenzo Viotti. She’s&#38;nbsp; been collaborating with modern and inspiring &#38;nbsp;composers like the brittish Jamie Pui Ling Man. Helin has been teaching at Sibelius Academy and in ENOA (European Network of Opera Academies)&#38;nbsp; and she’s a passionate recearcher of voice, psychology and spirituality. She has been working for Save the Children Finland to support and advocate the rights for women and children world wide.&#38;nbsp;


MORE ABOUT MY WORK
The teachers under whom I trained during the 1980’s and early 1990’s and to whom I’m much indebted to, have all been radical thinkers and critical of society to a point of what in their time was considered heretical. Jerzy Grotowski, the polish theater maker and founder of the “Poor Theater”, Min Tanaka, who’s teachings descended directly from Tatsumi Hijikata, the founder of Butoh (perhaps the most radical performance artist of his time), and my first spiritual teacher Jiddu Krishnamurti who, like the others, was self-taught. Krishnamurti, despite being against ‘spiritual leadership’, became a leading icon of freedom from conceptual thinking. Krishnamurti did not ridicule, but denied the world all together, the way we experience it. 
They all had this in common: not to go along with the system but to wake up from the hypnosis of separation. During the work and study under the teachings of these remarkable beings, my experiences of shifts in perception were so revolutionary and striking, that they marked the life I was to live. 
Opera-art can offer a wonderful platform to express, not only entertainment but the poetry of life, because it’s so surreal. The dialogue is slow, nobody speaks as slow as they do in opera. Opera is also a stage for extream contradictions like the highest skill in singing and innocent, non trained acting. Opera is &#38;nbsp;flexible to become theatre, meditation or installation.&#38;nbsp;

 I’m wittnessing the coming of a form of opera, that is a syncronization of classical music, video- and sound art, artificial intelligence and performance art in a most unknowable way. &#38;nbsp;The combination is challenging&#38;nbsp; and the live performances very rarely&#38;nbsp; reaches the artistic standard I’m looking for. &#38;nbsp;The technigue is developing so fast that the performance&#38;nbsp; becomes a place for practise, not a result of well rehearsed work. 

My mission as an artist,&#38;nbsp; is not to deliver the wonders of technigue, but to facilitate the flow of feelings connected to the body together with the awareness, to hold space for a moment of release.&#38;nbsp;

&#38;nbsp;PHILOSOPHY AND ART
The main problem in Eastern philosophy (and nowadays also in IFS psychotheraphy that sees a person not one but multiple)&#38;nbsp; is so called “wrong identification”. In other words: we take ourselves to be something we are not. We feel we can disappear like objects. Things seem to exist on their own, without depending on awareness in any way. They seem to exist objectively and can be discovered and verified by separate “subjective” perceivers. 
When we investigate objectivity and discover that it’s not to be found, we do not fall into its opposite, into subjectivity or solipsism. Instead, we become free from this pair of opposites. Non-dual experience is neither objective nor subjective. What happens is freedom from the very structures that enforce this distinction. 
Through art I hope to explore ways to open the fleeting moments of clarity and expanding consciousness. I want to explore the absurd and unreasonable. I’m investigating how ones body and mind can hold interest in an invisible intensity of which seek the meaning and not the mere appearance. I hope to show the importance of the action of making art in order to stay in a constant movement of inquiry, avoiding the fall into pre-existing thought forms.

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		<title>Contact</title>
				
		<link>https://kristiinahelin.com/Contact</link>

		<pubDate>Sat, 06 Apr 2019 12:30:52 +0000</pubDate>

		<dc:creator>Kristiina Helin</dc:creator>

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helinkristiina@gmail.com&#38;nbsp;


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		<title>ADVISOR: Operosa Montenegro/Joyce Di Donato 2026</title>
				
		<link>https://kristiinahelin.com/ADVISOR-Operosa-Montenegro-Joyce-Di-Donato-2026</link>

		<pubDate>Fri, 27 Mar 2026 17:37:41 +0000</pubDate>

		<dc:creator>Kristiina Helin</dc:creator>

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		<description>&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; ADVISORY BOARD MEMBER/ 2026&#38;nbsp;

Cal Performances’ multimedia ‘Emily—No Prisoner Be’ brings Dickinson’s poetry to life with music
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;AUGUST 13 2026 AT KANLI KULA FORTRESS OPEROS OPERA FESTIVAL MONTENEGRO&#60;img width="512" height="640" width_o="512" height_o="640" data-src="https://freight.cargo.site/t/original/i/325e931d2e85dd22be033eaf7efe9166a1d349739fc94db461b185ab90ca28f7/cc8217ea-ade3-4c7e-9be8-d9d532866088.JPG" data-mid="246577771" border="0" data-scale="100" src="https://freight.cargo.site/w/512/i/325e931d2e85dd22be033eaf7efe9166a1d349739fc94db461b185ab90ca28f7/cc8217ea-ade3-4c7e-9be8-d9d532866088.JPG" /&#62;&#60;img width="1280" height="1600" width_o="1280" height_o="1600" data-src="https://freight.cargo.site/t/original/i/0c437eb655b88dce139cd9ae45bbfeeac657dae82fafd52bedbd21c9baf7d946/85c6bcf2-1af5-407a-af1c-e642c75d74f3.JPG" data-mid="246594373" border="0" data-scale="45" src="https://freight.cargo.site/w/1000/i/0c437eb655b88dce139cd9ae45bbfeeac657dae82fafd52bedbd21c9baf7d946/85c6bcf2-1af5-407a-af1c-e642c75d74f3.JPG" /&#62;
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		<title>CONCEPT, VISUAL DESIGN, CO PRODUCER: BACH &#38; IMPROVISATIONS  2025</title>
				
		<link>https://kristiinahelin.com/CONCEPT-VISUAL-DESIGN-CO-PRODUCER-BACH-IMPROVISATIONS-2025</link>

		<pubDate>Thu, 21 Aug 2025 18:01:23 +0000</pubDate>

		<dc:creator>Kristiina Helin</dc:creator>

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		<description>BACH DAS WOLLTEMPIERT CLAVIER &#38;nbsp;&#38;amp; &#38;nbsp;IMPROVISATIONS
HELSINKI MUSIC HALL, HELSINKINBAROQUE ORHESTRA &#38;nbsp;31.12.2025
NEW YEARS CONCERTAapo Häkkinen/ cembalo
Kari Ikonen/ moogi

Mikko Perkola/ gamba
Vilma Jää/ vocalsTimo Kurkikangas/ sound design
Juha Vehmaanpää/ costumes/Mikko and KariKristiina Helin/ concept, arangements, &#38;nbsp;lights, video, costumes/Aapo&#38;nbsp;
&#60;img width="2448" height="2448" width_o="2448" height_o="2448" data-src="https://freight.cargo.site/t/original/i/cbfd9a415de8a8136d21fcdaa17980cab495a94a9a61b3f2662b6641dc04dfad/IMG_9534.JPG" data-mid="246578573" border="0" data-scale="8" src="https://freight.cargo.site/w/1000/i/cbfd9a415de8a8136d21fcdaa17980cab495a94a9a61b3f2662b6641dc04dfad/IMG_9534.JPG" /&#62;&#60;img width="2448" height="2448" width_o="2448" height_o="2448" data-src="https://freight.cargo.site/t/original/i/4c7a9a68d93159ce0c4562bb50e6f217cddea07a21717292485dc3af0fb44e0d/IMG_9421.JPG" data-mid="246578574" border="0" data-scale="8" src="https://freight.cargo.site/w/1000/i/4c7a9a68d93159ce0c4562bb50e6f217cddea07a21717292485dc3af0fb44e0d/IMG_9421.JPG" /&#62;&#60;img width="2448" height="2448" width_o="2448" height_o="2448" data-src="https://freight.cargo.site/t/original/i/54f6acf2fed313b7c329b63f7c5abb8a12aad4194ceb5f6c841d1d6b9220b3b6/IMG_8987.JPG" data-mid="246578589" border="0" data-scale="8" src="https://freight.cargo.site/w/1000/i/54f6acf2fed313b7c329b63f7c5abb8a12aad4194ceb5f6c841d1d6b9220b3b6/IMG_8987.JPG" /&#62;&#60;img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/a75fc1380fe5d60469490c3bc7544fdc5f2eb22be73f308d77e4010a568d08ae/IMG_0860.jpeg" data-mid="246578598" border="0" data-scale="8" src="https://freight.cargo.site/w/1000/i/a75fc1380fe5d60469490c3bc7544fdc5f2eb22be73f308d77e4010a568d08ae/IMG_0860.jpeg" /&#62;&#60;img width="173" height="291" width_o="173" height_o="291" data-src="https://freight.cargo.site/t/original/i/cf7355ff13e41d62b679deb92213c67c83ab953d0a3f7f571698e75960bf1048/Unknown-1.jpeg" data-mid="246579676" border="0"  src="https://freight.cargo.site/w/173/i/cf7355ff13e41d62b679deb92213c67c83ab953d0a3f7f571698e75960bf1048/Unknown-1.jpeg" /&#62;&#60;img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/e36a1e6dac0332d5becd86ab51deddb0f4a1757bf8e4f3e669796e2d936bbc01/IMG_0038.jpeg" data-mid="246578571" border="0"  src="https://freight.cargo.site/w/1000/i/e36a1e6dac0332d5becd86ab51deddb0f4a1757bf8e4f3e669796e2d936bbc01/IMG_0038.jpeg" /&#62;

VANITAS-ASETELMA &#38;amp; preludit ja fuugat

Johann Sebastian Bach (1685–1750)Das Wohltemperierte Clavier Præludium &#38;amp; Fuga C-duuri / C-dur, 
BWV 870 Præludium &#38;amp; Fuga e-molli / e-moll, BWV 855 Præludium C-duuri / C-dur, 
BWV 846 Præludium f-molli / f-moll, BWV 881 Præludium &#38;amp; Fuga cis-molli / cis-moll, BWV 849

IMPROVISAATIOT / IMPROVISATIONER

VANITAS-ASETELMA &#38;amp; preludit ja fuugat

Johann Sebastian Bach
Das Wohltemperierte Clavier Præludium &#38;amp; Fuga G-duuri / G-dur, 
BWV 884 Fuga h-molli / h-moll, BWV 869


Kun Saksassa Bach kutitteli sävelkorvaansa, soivat Suomessa vie- lä myös paimenhuilut, karjakellot ja kantele. Konsertti Vaka Vanha Bach asettelee näitä yhteen kudokseen improvisaation keinoin. Aapo Häkkisen, aikamme merkittävän Bach-tulkitsijan, näpeissä soi J. S. Bachin Das Wohltemperierte Clavier. Vanhassa musiikissa Häkkistä kiehtoo paradoksaalisesti tuoreus, musiikin kuuleminen uudella tavalla. Kari Ikonen on aikamme nero- mitä tulee keksimiseen ja -patti mitä tulee musisointiin. Hän soittaisi vaikka perunalla nokkahuilua, jos taiteellinen päämäärä niin vaatisi. Tänä iltana saamme kuulla imp- rovisaation ilotulitusta Karin Moog-analogisyntetisaattorin avulla, Bachin sävelkielestä ja saman aikakauden itämaisista ja suomalaisista sävelmistä inspiroituen, niitä kommentoiden ja kontrastoiden. Karin pitkäaikaisen soittokumppanin, gambisti Mikko Perkolan musisointi nojaa toisella jalalla tukevasti barokkimusiikkiin, mutta ponnistaa sieltä yllättäviin suuntiin, niin ikään väkevästi improvisoi- den ja paikoin kipakkaakin dialogia eri aikakausien välille viritellen. Kari ja Mikko ovat satelloineet vanhan musiikin kiertoradoilla jo pit- kään, laukaisualustoinaan mm. Quartet Ajaton - Early Music in the Latest Way ja duo-projekti Barokkimusiikkia Kuusta.Juha Vehmaanperän pukujen barokkimainen neuletaide tuo perinteisen käsityötaidon nykyaikaan.Tämä ilta yhdistää mantereet ja vuosisadat. Vilma Jää, raikas kansanlaulun uudistaja, vetää yhteen menneiden aikojen äänet.VANITAS-ASETELMA &#38;amp; preludit ja fuugat

Asetelma eli hiljaiselo ja&#38;nbsp;nature morte&#38;nbsp;eli kuollut luonto on maa- laustaiteen genre, jonka kuvauksen kohteena ovat esineet, ruoka, kasvit ja eläimet. Asetelman juuret ovat antiikissa ja erityisesti renessanssin ajan kristillisessä taiteessa, kuten viimeistä ehtoollista esittävien maala- usten pöytäkattauksissa. Asetelmamaalaus itsenäistyi omaksi lajikseen ja kukoisti vilkkaan kaupankäynnin maallistamassa Hollannissa 1600-lu- vulla. Asetelmat ilmensivät puhdasta visuaalista iloa, mutta niillä oli myös moraalinen sanoma liittyen kaiken maallisen turhuuteen ja ka- toavaisuuteen.

Hiljaisuus on keskeinen osa asetelman käsitteistöä ja asetelmaa luonnehtii kohteen tarkka havainnoiminen. Taso, joka usein on pöytä, on olennainen osa asetelmataiteen traditiota. Esineiden asettelu tasolle saa aikaan vaikutelman näyttämöstä. Teatterimaisuus häivyttää arkista ilmapiiriä. Se tekee tutuista objekteista epätodellisia ja salaperäisiä, ai- van kuin ne eivät kuuluisi enää ulkoiseen maailmaan vaan olisivat osa sisäistä todellisuuttamme.

Yksi asetelmamaalauksen alalajeista on vanitas, joka on latinaa ja tar- koittaa turhuutta. Asetelmissa elämän hetkellisyydestä kerrottiin tun- netuin symbolein, esimerkiksi lakastuvin kukkasin. Kukat ovat kulttuu- rissamme läsnä niin surussa kuin ilossa ja niihin liittyy oma symboli- kielensä. On sanottu, että 1600-luvun hollantilaiset taiteilijat keksivät näkyvän maailman kauneuden. Heidän asetelmissaan kukat edustivat&#38;nbsp;vanitas-teeman ohella elämää, kukoistusta ja kasvua – myös taloudellista vaurautta ja kehitysoptimismia. Niihin kuvattiin esimerkiksi kaupan- käynnin kohteena olleita harvinaisia ja kallisarvoisia tulppaanilajikkeita, kuten punaraidallinen Semper Augustus. (On tavattoman surullista ja ironistakin, että nykypäivän Hollannissa tulppaanin viljely on saas- tuttanut valtaosan maaperästä). Asetelmat sisältävät kaikkea sitä, mitä ympärillämme on ja mitä jälkeemme jää. Ne kuvaavat näkyvää maailmaa konkreettisesti, mutta samalla vertauskuvallisesti. Asetelma on osoitta- nut, että aihe voi olla taiteessa toisarvoinen. Merkittävää on taide itse ja ne tunteet, muistot ja mielikuvat, joita teoksen katsominen herättää.

Asetelmallisuuden ja hitauden tutkiminen on jatkunut taiteellisessa työssäni jo lähes kaksikymmentä vuotta ja installaation eri muunnelmat mukautuvat aina uudelleen mitä erilaisimpiin esityksiin. Tuntuukin siltä että ne eivät koskaan vanhene.
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		<title>CHOREOGRAPHY, COSTUME DESIGN, CO PRODUCER:  Bach Die Kunst der Fuge  2024 </title>
				
		<link>https://kristiinahelin.com/CHOREOGRAPHY-COSTUME-DESIGN-CO-PRODUCER-Bach-Die-Kunst-der-Fuge-2024</link>

		<pubDate>Mon, 15 Jan 2024 16:43:31 +0000</pubDate>

		<dc:creator>Kristiina Helin</dc:creator>

		<guid isPermaLink="true">https://kristiinahelin.com/CHOREOGRAPHY-COSTUME-DESIGN-CO-PRODUCER-Bach-Die-Kunst-der-Fuge-2024</guid>

		<description>BACH DIE KUNST DER FUGE
Helsinki Music Hall, New Year’s &#38;nbsp;2024 concert Helsinki Baroque Orchestra
Organ : Aapo HäkkinenConcept/Choreography/ lightsCostumes: Kristiina Helin, Jani Sunnarborg, Ilkka Salakari
Dance: Jorma Uotinen, Jani Sunnarborg
&#60;img width="1170" height="2532" width_o="1170" height_o="2532" data-src="https://freight.cargo.site/t/original/i/8494cb0fd1c30bdc546969ed61ab968634dc7d9e231fc547a3dbe51ca4078a3c/Venla-Sandgren-1-.jpg" data-mid="225243454" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/8494cb0fd1c30bdc546969ed61ab968634dc7d9e231fc547a3dbe51ca4078a3c/Venla-Sandgren-1-.jpg" /&#62;Jorma Uotinen/Photo Venla Sandgren 

&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/976f05fd55759f511f9d25f4a0c81ff536d872d101b3eb78e5bdc7de597fbcb5/Merja-6.jpeg" data-mid="225243455" border="0" data-scale="36" src="https://freight.cargo.site/w/1000/i/976f05fd55759f511f9d25f4a0c81ff536d872d101b3eb78e5bdc7de597fbcb5/Merja-6.jpeg" /&#62;&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5667f47b3b2461e1cac3caf1b607cbb82dce91960ad0a983eeb3fc942be8aa9a/VenlaSanndgren.jpg" data-mid="225246005" border="0" data-scale="36" src="https://freight.cargo.site/w/1000/i/5667f47b3b2461e1cac3caf1b607cbb82dce91960ad0a983eeb3fc942be8aa9a/VenlaSanndgren.jpg" /&#62;&#38;nbsp; Jani Sunnarborg/Photo Merja Ehnroos &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

Ajatus: Musiikkitalon Uudenvuoden konsertti ilman orkesteria. Näyttämön tyhjyyttä säestäisi vain yksi yksinäinen neljän miljoonan euron instrumentti, kymmenen sormea ja ehkä yksi jalka, sekin piilossa.

Minulle tämä tarkoitti ainutlaatuista mahdollisuutta, sillä viimeiset kolmekymmentä vuotta olen työnnellyt laulajia milloin mistäkin orkesterin väliin, si- vuun ja eteen. Tilaa esiintymiselle on ollut kullekin 30 cm x 30 cm ja silloinkin on saattanut saada viulun nupista päähän.

Mutta siis Bach ja fuugat.

Oli pelottavaa tarttua sävellykseen näyttämöllisesti. Teosta voi tutkia koko- naisen elämän ajan, teoreettisesti, filosofisesti ja taiteellisesti. Useat ovat näin tehneetkin, itsekin olisin, jos olisin saanut. Silti. Bachkin oli ihminen; söi, joi ja nai. Se antoi rohkeutta.

Ranskankielinen sana fugue&#38;nbsp;tulee latinankielisestä sanasta&#38;nbsp;fuga&#38;nbsp;ja tarkoittaa pa- kenemista. Voisikin ajatella, että musiikillinen teema ikään kuin pakenee tunte- mattomaan ja sitten taas ilmestyy, kun aika on sille otollinen. Psykologiassa&#38;nbsp;fuuga&#38;nbsp;on tila, jossa henkilö menettää tietoisuuden identiteetistään. Tämä dissosiatii- visen muistinmenetyksen alatyyppi sisältää usein jonkinlaisen odottamattoman matkan. Ihmiset, jotka kokevat dissosiatiivisen fuugan, voivat yhtäkkiä löytää itsensä paikasta, kuten rannalta tai työpaikalta, ilman muistikuvaa sinne matkus- tamisesta. Fuugaa kuvataankin hämmentyneen vaeltamisen tilana. Vaeltaminen voi kuitenkin olla myös yksinkertaisesti kävelemistä vailla päämäärää ja sinänsä erittäin luova tila. Musiikissa fuuga on yksiselitteisesti monimutkaisin moni- ääninen musiikillinen muoto.

Tietyissä fuugissa koen, että säveltäjän vapaa leikki, toisin sanoen improvi- saatio on niin ilmiselvää, että kyse ei todellakaan ole hengellisestä eikä varsin- kaan uskonnollisesta musiikista, ellei nimenomaan leikkiä lasketa jumalalliseksi ja näin ollen henkiseksi. Fuugilla surffailu on kuin psykedeelistä free jazzia par- haimmillaan tai tiukkaa sudokua. Bach kuitenkin ylitti minun, tavallisen ihmisen, käsityskykyni ja viimeinen fuuga numero 11 jäi aukeamatta ja hyvä niin; tunnus- tan pienuuteni suhteessa tähän musiikin savanttiin.

Pilvet, aurinko ja avaruus, vesi kehon sisällä ja sen ulkopuolella. Tällaisena tuo teoksen iso kaari minulle avautui. En halunnut ottaa neljää tanssijaa ja neljää väriä, laskea askelia matemaattisesti. Vaikka teoksen tarkoitus on myös opettaa, se ei ole koreografian tarkoitus. Haluan sen sanoa, sillä muuten ei olisi kovin perusteltua istua Musiikkitalossa tunti vesihöyryssä, ennemmin voisi mennä vaikka saunaan.

Moni kokee asiat toisella tavalla, ja silloin voikin vain hengittää höyryä ja avata korvia, antautua sisäisen pilvensä vietäväksi. Niin, tai voi katsella tanssia sumun läpi, kuten Bach katseli maailmaa elämänsä loppupuolella kunnes sokeutui lopullisesti.

Kristiina Helin&#38;nbsp;

&#60;img width="2874" height="3836" width_o="2874" height_o="3836" data-src="https://freight.cargo.site/t/original/i/44a4ac2befc0095c7e2288858fb9bdb5beac04d4b5ec78a039e9cf01eb1e9f38/photo-Venla-Sandgren.jpg" data-mid="225243453" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/44a4ac2befc0095c7e2288858fb9bdb5beac04d4b5ec78a039e9cf01eb1e9f38/photo-Venla-Sandgren.jpg" /&#62;
Jorma Uotinen/ Jani Surnnarborg. Photo: Venla SandgrenRunoja surusta, rakkaudesta ja kuolemasta
Mestari puhuu meille teoksessaan niin selvin sanoin, että aivan hyvin voimme sanoa näitä fuugia runoiksi. Rytmin ja erityyppisten ydinkuvioitten yhdistelmät antavat jokaiselle osalle yksilöllisen luonteen. Jotakin fuugaa saattaa siten kokonaan leimata pieni kolmen sävelen huokaus-motiivi. Sama kuvio voi jossakin toisessa fuugassa kiertää suljettua kehää niin, että fuuga saa melkein aggressiivisen leiman. Ylpeys ja taipumaton uhma puhuvat meille terävästi pro- filoiduin pisteellisin rytmein. Tuska syöpyy lävitse kromaattisissa sävelkuluissa. Mukana on retorisena kuviona myös hiljaisuus: kenraalitauot. Kaiken tämän keskellä näemme usein valon – ne fuugat, joissa teema saa rytmiltään pehmeästi keinuvan hahmon. Niissä on lämpöä, hiljaista iloa, rakkautta. Ja läpi kaikkien runojen kulkee erilaisiin hahmoihin puettuna pääteema luoden järjestystä, liit- täen kokonaisuuden yhteen: se on turvallinen yhteys moninaisuudessa. Kaiken yllä on kuoleman läheisyys.
Enzio Forsblom (1982)


&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/680215d8a716634cbdd3b47ddc9298ecad5cab9dcbb34113c051b75cb114cb20/Venla-Sandgren.jpg" data-mid="225243452" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/680215d8a716634cbdd3b47ddc9298ecad5cab9dcbb34113c051b75cb114cb20/Venla-Sandgren.jpg" /&#62;&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e30aa181c4568ef4c669b9dea5a99c80f2afb55244396dde09d845ffbee9a50b/Merja-4.jpeg" data-mid="225245998" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/e30aa181c4568ef4c669b9dea5a99c80f2afb55244396dde09d845ffbee9a50b/Merja-4.jpeg" /&#62;Jorma Uotinen/ photo Venla Sandgren&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Jorma Uotinen/ photo Merja Ehnroos
Jorma Uotinen/ Photo Venla Sandgren

&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5334f665c502b737c4b52c491a640c4f621b4dd9b63c182c04a09c4a0d79c804/Venla-Sandgren..jpg" data-mid="225246006" border="0" data-scale="44" src="https://freight.cargo.site/w/1000/i/5334f665c502b737c4b52c491a640c4f621b4dd9b63c182c04a09c4a0d79c804/Venla-Sandgren..jpg" /&#62;&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/2138e2bd4d191ead9c2f74f78089a1d6f25e889271ef161ac55769695ce4e71b/Merja-5.jpeg" data-mid="225245996" border="0" data-scale="44" src="https://freight.cargo.site/w/1000/i/2138e2bd4d191ead9c2f74f78089a1d6f25e889271ef161ac55769695ce4e71b/Merja-5.jpeg" /&#62;
Jani Sunnarborg/ Photo Venla Sandgren


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		<title>  MENTORING: Montenegro Operosa festival 2024</title>
				
		<link>https://kristiinahelin.com/MENTORING-Montenegro-Operosa-festival-2024</link>

		<pubDate>Mon, 15 Jan 2024 16:40:45 +0000</pubDate>

		<dc:creator>Kristiina Helin</dc:creator>

		<guid isPermaLink="true">https://kristiinahelin.com/MENTORING-Montenegro-Operosa-festival-2024</guid>

		<description>mentor for directing
OPEROSA FESTIVAL MONTENEGRO 1. - 7.7.2024
OPEROSA FESTIVAL MONTENEGRO 1 - 7.8.2025Mentee: Lada Shylenco (young artists program2024-2025/Metropolitan Opera, New York)
&#38;nbsp;
&#60;img width="800" height="567" width_o="800" height_o="567" data-src="https://freight.cargo.site/t/original/i/3ab22b1e41dc32470a7d87501a73a8756a56b1491b0c0912619a5120c7cd8de2/operosa.jpg" data-mid="204303399" border="0"  src="https://freight.cargo.site/w/800/i/3ab22b1e41dc32470a7d87501a73a8756a56b1491b0c0912619a5120c7cd8de2/operosa.jpg" /&#62;
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		<title>MENTORING: Norwegian Academy of  Music 2024/Supervision</title>
				
		<link>https://kristiinahelin.com/MENTORING-Norwegian-Academy-of-Music-2024-Supervision</link>

		<pubDate>Thu, 18 Apr 2024 08:26:09 +0000</pubDate>

		<dc:creator>Kristiina Helin</dc:creator>

		<guid isPermaLink="true">https://kristiinahelin.com/MENTORING-Norwegian-Academy-of-Music-2024-Supervision</guid>

		<description>The Norwegian Academy of Music is a university-level music conservatory located in Oslo, Norway. &#38;nbsp;It is the largest music academy in Norway and offers the country's highest level of music education.
&#60;img width="428" height="118" width_o="428" height_o="118" data-src="https://freight.cargo.site/t/original/i/e785084e8ee6b32abe806e506e28dcd9f5fbdf799dfa85cc4b82a3524cf01375/Unknown-1.png" data-mid="209225592" border="0"  src="https://freight.cargo.site/w/428/i/e785084e8ee6b32abe806e506e28dcd9f5fbdf799dfa85cc4b82a3524cf01375/Unknown-1.png" /&#62;
co-supervisor for PhD fellow Martyna Kosecka 2024 /&#38;nbsp;A doctorate from the Norwegian Academy of Music
The Academy offers two PhD programmes. One is a scientific programme in music, the other is a PhD programme in artistic development in performing and creating music. 

Both programmes are three-year studies containing an educational component of 30 to 40 credits, as well as independent academic or artistic work.The PhD programme in artistic research intends to secure high level artistic research and leads to expertise as Associate Professor.
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		<title>DIRECTOR, VISUAL DESIGN, COSTUME DESIGN: schumann genoveva  dresdner musikfestspiele  2023</title>
				
		<link>https://kristiinahelin.com/DIRECTOR-VISUAL-DESIGN-COSTUME-DESIGN-schumann-genoveva-dresdner</link>

		<pubDate>Wed, 06 Feb 2019 12:45:54 +0000</pubDate>

		<dc:creator>Kristiina Helin</dc:creator>

		<guid isPermaLink="true">https://kristiinahelin.com/DIRECTOR-VISUAL-DESIGN-COSTUME-DESIGN-schumann-genoveva-dresdner</guid>

		<description>
	DRESDEN Kulturpalast: 4th June 2023
Dresdner Musikfestspielehttps://www.youtube.com/watch?v=fK4Ggt2kGg8
&#60;img width="1185" height="1476" width_o="1185" height_o="1476" data-src="https://freight.cargo.site/t/original/i/393654ca49e09160d0d42f42e1cc2ec539e60204be2a7371d4b6bd5ae625fbb3/HeBo-Genoveva-7257-IG.jpg" data-mid="195292217" border="0"  src="https://freight.cargo.site/w/1000/i/393654ca49e09160d0d42f42e1cc2ec539e60204be2a7371d4b6bd5ae625fbb3/HeBo-Genoveva-7257-IG.jpg" /&#62;https://deropernfreund.de/semperoper-dresden/dresden-genoveva-robert-schumann/

“The dramaturgically well thought-out use of video technology strengthened the impression of the concert. Finnish opera director Kristiina Helin used Schumann's introduction of The Magic Mirror to portray a different form of poetic reality. With her visual concept, Helin designed both a backdrop and a moving landscape or reflections of the mood of the title character. With the video animations set up by artist duo IC-98 Patrick Söderlund and Visa Suonpää, she created an impressive parallel to Schumann's sophisticated network of leitmotifs”.
Thomas Thielemann

6. Juni 2023Semperoper Dresden Dresden: „Genoveva“, Robert SchumannDer dramaturgisch durchdachte Einsatz von Video-Technik verstärkte den Eindruck des Konzertes. Schumanns Einführung des Zauberspiegels nutzte die finnische Opernregisseurin Kristiina Helin, um eine andere Form poetischer Realität darzustellen. Mit ihrem visuellen Konzept gestaltete Helin sowohl eine Kulisse, als auch bewegte Landschaft oder Reflexionen von Befindlichkeiten der Titelfigur. Mit den vom Künstler-Duo IC-98&#38;nbsp;Patrick Söderlund&#38;nbsp;und&#38;nbsp;Visa Suonpää&#38;nbsp;eingerichteten Video-Animationen schuf sie eine beeindruckende Parallele zu Schumanns raffiniertem Leitmotivgeflecht.Thomas Thielemann 6. Juni 2023
	The 5 moving landscape portraits/Booklet&#38;nbsp;
On July 15th 2015 when looking out of a large window, strait to the Dutch fields, covered with thick fog, I experienced&#38;nbsp; a strange phenomena. Instead of me watching in to the landscape, the windmill and vague sunbeams pushing through the fog, it was as if the landscape was looking at me. I felt like a fish in an aquarium inside the house, being observed by the landscape. Then in a fleeting moment, I was sucked into the fields and became one with it. 


In retrospective one could describe the happening as if the time had stopped and I was carried to a mystical void. 

When I started to work with Genoveva, I was taken back to this experience, what I think now as my first truly meaningful shift in the consciousness. More I was studying Schumann’s life and compositions, more I gained courage to lean into the intuition. For a long time I was only “in waiting”. 

When I saw the works of IC-98 I knew, this is it. I would have never &#38;nbsp;thought of black and white animated images. Animation traditionally has been for children. It is as if one would go backwards with the technology.&#38;nbsp; Also not using any color, the video was distancing itself, like in the old silent movies. I was intrigued and fascinated. 

The slow movement and the feeling that the drawings are “standing in awareness” resonated exactly in the same place, where I experienced Schumann, music and thus, Genoveva.


Schumann is using a “magic” mirror as a pivot of the opera. Mirror as an object, indeed, is a powerful symbol, but it is not the object, nor the looking into it, but seeing the seeing itself, that makes the shift. A landscape is a mirror. Anything that appears to our vision can be looked at that way. This is when the distance between the object and the subject disappears. How and why this happens, is a mystery.

The works of IC-98 are offering us a possibility to look at, not only to the picture, but to the seeing. I’m using these animations as massive moving landscape portraits, where the same way as in Magritte’s painting the apple is painted to be a head.

The five works create the set design for the opera. The house can be seen as a building, where the drama is taking place, but it can also be seen in a Jungian way, the house being Genoveva herself. The ships, Siegfried on his way to the war abandoning the house and the ever streaming river, the continuation of time. 

But one can experience the five works as totally independent meditative walls or Self reflecting mirrors. Like a dream, they do not ask anything but if carefully observed, they can work as a path to change the state of consciousness. 


The five landscape portraits can also be looked at in their original context when, I feel, both the visual and the music is giving way to us, the artists to reflect to our time, the everyday life and history that is what else but mere alternated memory. 

Kristiina HelinHELSINKI BAROQUE ORCHESTRACONDUCTOR AAPO HÄKKINENArnold Schoenberg Chor:Knights, ecclesiastics, sguires, retainers, country people, apparitions
Carolyn Sampson, soprano (Genoveva)Marcel Beekman, tenor (Golo) Johannes Weisser, baritone (Siegfried)Marie Seidler, soprano (Margareta) Felix Speer, baritone (Hidulphus) Cornelius Uhle, bass-baritone (Drago)Marcell Krokovay, bass, (Balthasar)Alexander Aigner, baritone (Caspar)Valentin Trandafir, (Angelo)

Visual concept: Kristiina Helin, collaboration withIC-98 Visa Suonpää, Patrik SödrerlundStage director and Costumes: Kristiina Helin
Schumann’s only opera is heard for the first time on 19th century period instruments. Visual dramatization by Kristiina Helin seeks to capture and enhance the spirit of Schumann’s vision of a truly epic opera actually impossible for traditional staging. Using sophisticated lights and video technology, in addition to carefully conducted slow-motion ‘moving portrait’ technique of the vocal forces, the performance creates an ineffable multi-arts experience hard to describe in traditional terminology. The mirror in which one beholds one’s own self, past and present, that is at the centreof Schumann’s unique concept, becomes an ageless moral force of terrifying transformative power.


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