Born in Somero, Finland, on 5 September , Karita Mattila can turn any performance into an event. She is one of opera&#;s most compelling actors, combining conscious artistry with a “truly physical and vocal performance.” In fact, she has been called “the voice of female sexuality” after a Salzburg performance as Elektra’s younger sister Chrysothemis under Claudio Abbado.
Karita Mattila Sings Strauss’ Salome (excerpt)
Liisa Linko-Malmio
Karita Mattila,
Mattila grew up in a remote village in rural Finland, but her obvious vocal talent secured a place at the Sibelius Academy in Helsinki. Actually, she never had plans to become an opera singer, “it just happened, and now I haven’t regretted anything that has happened. It’s been wonderful.” As Mattila explained, “in the beginning, I was just interested in singing.”
Mattila took lessons with Liisa Linko-Malmio in Helsinki, whom she describes as just wonderful. “She didn’t only teach me singing, but she was also able to teach me so much about this profession. So, it became more real and realistic.” In turn Linko-Malmio remembers, “She was eighteen years old, a great big girl… She was always interested in everything around he
Karita Mattila
New roles have dominated Mattila’s recent appearances including acclaimed performances as Herodias (Salome) in Lydia Steier’s new production for Opéra National de Paris under Simone Young; for the Canadian Opera Company under Johannes Debus; and for Houston Grand Opera under Keri-Lynn Wilson in Francisco Negrin’s production; and she made her acclaimed debut as Strauss’ Klytämnestra (Elektra) at the Deutsche Opera, Berlin and last season at Royal Opera House, Covent Garden in Christof Loy’s new production, conducted by Antonio Pappano. Other recent outstanding performances include a triumphant return to the Salzburg Festival as La zia principessa (Suor Angelica) in another Christof Loy new staging and conducted by Franz Welser-Möst; Poulenc’s Lavoix humaine staged especially for her by Finnish National Opera under Dalia Stasevaska, and in Glaus Guth’s award-winning production of Jenůfa for The Royal Opera, Covent Garden – all of which were internationally streamed and broadcast. Last season she made debuts at Teatro dell’Opera di Roma under Juraj Valčuha singing Kostelnička, and at home in Finland, she made her operatic debut
Postby Rob A. » Mon Feb 18, pm
in other words a genuine, earthy Finn, and in this case, with an enormous talent This is nice hear, I did think she was being "real"it was a good interview, though I didn't hear a single "Perkele" As I tuned in late I'm not surEP wrote:She performs in Finland at least once a year. She decided already early in her career that even with full bookings from the Metropolitans and La Scalas of this world, Finland will always get a piece.
There is not a tiniest bit of diva in her, she would be best described as "hyvä jätkä". A bit foul-mouthed, though, "perkele" creeps into her speech regularly. Plus other "colourful" expressions. She also has a thick Turku dialect. A diva would never strip herself stark naked on the stage of Metropolitan (Salome), and later in the interview worry if she managed to keep her stomach in, or did it hang out.
And sure, there are interviews in magazines (not just women´s magazines), but never about pets (she has none), wardrobe (she loves clothes) or her home. People don´t even know where her Finland-home is (somewhere near Turku).
All in all, she seems to be as healthy between the ears as one can get.
Karita Mattila
Born in Finland, Karita Mattila trained at the Sibelius Academy, Helsinki, and with Vera Rózsa. Her Royal Opera roles include Fiordiligi (Così fan tutte), Donna Elvira (Don Giovanni), Countess Almaviva (Le nozze di Figaro), Elisabeth de Valois (Don Carlo), Liza (The Queen of Spades), Elsa (Lohengrin), Chrysothemis and Klytämnestra (Elektra), Jenůfa and Kostelnička (Jenůfa), Amelia (Un ballo in maschera), Leonore (Fidelio), Marie (Wozzeck) and the title roles of Arabella and Ariadne auf Naxos. Recordings include Jenůfa (Grammy Award for Best Opera, ), Don Carlo, Strauss Four Last Songs with Abbado, German Romantic arias with Colin Davis, Grieg and Sibelius songs with Oramo and Schoenberg’s Gurre-Lieder and Shostakovich’s Symphony no with Rattle. Recent engagements include Ariadne, Ortrud and Kostelnička (Bayerische Staatsoper), La zia principessa in Suor Angelica (Salzburg Festival), Foreign Princess in Rusalka and Emilia Marty in Věc Makropulos (Paris Opera), Kabanicha in Káťa Kabanová (Berlin State Opera), Madame de Croissy in Dialogues des Carmélites (Metropolitan Opera) and Herodias in Salome (Paris Ope
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