Opera Student: In the middle of a lesson, I feel like I’m taking off, I want to learn this now!
Sakari Topi’s path to studying vocal arts at the Sibelius Academy of Uniarts Helsinki was not the most conventional one. Read his story, from finding inspiration in acting to pursuing master’s studies in opera.
Who are you – and can you tell us about your journey to becoming an opera singer?
I am Sakari Topi, a 26-year-old bass from Helsinki, and I am studying for a master’s degree in Opera at the Sibelius Academy. I have previously done a bachelor’s degree in the Vocal arts department.
When I applied to the Vocal arts department, I was most interested in opera, and this interest only grew during my studies. In the summers, I worked at the Savonlinna Opera Festival. A year ago, I applied for the master’s programme in opera.
When I was younger, I played the piano, starting at the age of six. However, free accompaniment probably best describes my playing. Since middle school, I was headed towards programming and information processing.
My enthusiasm for the arts ignited at the end of middle school when I started doing theatre. In high school, I was involved in the National Theatre’s audience work and ended up acting in a short film. My background in theatre has provided immense skills for stage work in music, especially in opera.
What sparked your interest in studying opera at the Sibelius Academy specifically?
It felt easy to continue here, as I live in Helsinki and studied vocal arts here. I get inspired by people, and the right people were already here.
In the opera programme, we have two full-length opera productions every year. We also have the unique opportunity to use the Sonore Hall of the Helsinki Music Centre throughout the rehearsal period.
What do you remember about applying and the entrance exams?
From the application process for the bachelor’s degree, I remember a discussion with my then-teacher Erkki Rajamäki. When I applied for the Vocal arts department, I took private lessons with him. Erkki also became my teacher at the Sibelius Academy.
The main thing was that on the same morning I was heading to the entrance exams for computer science, I received the news that I had been accepted into the Sibelius Academy. I skipped the entrance exams.
During the admission process for Opera, I had important discussions with Erkki again, even though by then I had learned a few more songs and arias. I was also satisfied with the monologue I wrote for the entrance exam based on a TV series.
What does studying in the opera programme involve?
90 percent of the studies revolve around opera productions, which also include written assignments. You need to open the score pretty quickly and learn the music. Everything starts from knowing your role. For me, it begins with listening to the entire work and getting familiar with its world and how my role fits into the broader story.
Rehearsing involves a lot of fine-tuning. At some point, joint music rehearsals begin, which can be quite individual-focused. Then starts the stage work, where the performance is built under a professional director.
With my teacher Nicholas Söderlund, we go through various repertoires and focus on vocal technique. This spring, we have focused on refining parts of my role as Figaro in Mozart’s “The Marriage of Figaro.”
We also have individual instruction with opera coaches. With them, we go through opera roles and learn the music together, so I can add it to my repertoire. Recently, I have been practicing the role of Bartolo in Gioacchino Rossini’s opera “The Barber of Seville.” Next, I will work on the role of Papageno in Mozart’s “The Magic Flute.”
What unique opportunities or resources has the Sibelius Academy provided for your growth and development as an opera singer? What sets it apart from other opera schools?
The Sibelius Academy offers very high-quality teaching. My first teacher, Erkki Rajamäki, was someone who knew how to build a really good technical and artistic foundation for me as a singer. We didn’t just hone technique; I learned a lot about the entire art of opera and singing.
Another great thing is the use of the Sonore Hall at the Helsinki Music Centre as an essential part of the opera training. We also get a lot of support for individual development from our teachers and vocal coaches. There is room for progress at your own pace.
What has been the best part of your studies?
My fellow students. That is the best part every day. The opera class is quite cohesive. I get inspired by those I work with and learn from them musically and artistically – and also about life every day.
There can be days when I’m supposed to practice alone in a small room, and I don’t get much done, but when there is a joint ensemble session, I gain strength and feel that I’m not alone. In the middle of a lesson, I feel like I’m taking off, I want to learn this now!
What have been the most memorable performances or projects during your studies?
The most memorable has been the “Opera as Multidisciplinary Collaboration” course I took during my bachelor’s studies. It was a completely new experiment, involving students of writing, dramaturgy, directing and set design from the Theatre Academy as well as composition and vocal arts students from the Sibelius Academy. Towards the end, there were also instrument students involved.
During the year, we created mini-operas. We got to learn about each other’s artistic processes as we shared our own expertise with others. The course formed smaller groups that built small works together. It was a joint journey from the start, including the singers.
How would you describe your student community in the Opera programme?
Inspiring and very open, friend-based. We don’t just talk about productions but about anything. It’s important to remember not to work all the time. It’s great to be able to switch to a leisure mode with the same people and relax together.
What do you dream of doing after graduation?
My true dreams are still secret. I want to bring out my own art and my inner self – what’s inside my head – in solo or other roles. I want to ignite the audience and be able to show everything, including emotions.
What advice would you give to those considering opera studies at the Sibelius Academy?
Apply if you’re considering it. Most applicants have a strong musical background, so it seemed pretty odd that I applied, without such a background – but I just applied.
You can’t get in if you don’t apply. It’s always worth trying. If you don’t get in the first time, it doesn’t necessarily mean anything. You come here to learn; the panel looks at you to see if you could be molded into a singer.
I quote my former teacher Erkki Rajamäki: “It’s a good experience to apply, but it’s equally important to remember how demanding the requirements and pace are, and there’s plenty of work if you get in.”