Soprano Tuuli Takala: Make your mark with authenticity
Success in competitions gave a start to Sibelius Academy alumna, radiant soprano Tuuli Takala’s international career on many of the world’s prominent opera stages. Read her story and poignant career advice for aspiring opera singers.
“As a child, I didn’t have a dream to become an opera singer. I have a versatile background in music. I played violin for 15 years and sang in a children’s choir, later in chamber choirs, and lots of pop and rock with a party band”, Tuuli Takala says.
As an opera singer, she calls herself a late bloomer as she took her first classical singing lessons only after high school. At the Sibelius Academy of Uniarts Helsinki, she first studied music education, and later joined the opera programme.
“During my exchange year in Australia, I got used to working in a different culture. Among other things, this experience has later helped me tremendously in starting an international career.”
Takala made her professional operatic debut in 2013 at the Finnish National Opera in Helsinki as the Queen of the Night in Mozart’s the Magic Flute. The same year she won First Prize in both the Timo Mustakallio and the Kangasniemi singing competitions in Finland and was a finalist and the Arnold Schönberg Center Special Prize recipient in the International Hilde Zadek singing competition in Vienna, Austria.
Queen of the Night gave a good start
In Takala’s experience, agents are important when pursuing an international career. Especially as a young singer, one rarely has contacts to international opera houses, so agents are a vital middleman in getting the first engagements.
“Another good place to start can be an Opera Studio or Young Artist Programmes, which many opera houses offer”, Takala says.
Takala’s first agent was Kalle Kanttila who contacted her after her very first performances as the Queen of the Night, first at the Metropolia School of Applied Sciences and then at the Sibelius Academy.
“Specialty roles such as the Queen of the Night can give you a good start. It can open many doors and it’s easier to stand out from the crowd. I was still studying at the time, so we started our collaboration slowly. He arranged the first auditions abroad. I worked with his agency until 2019, more than five years”, Takala says.
At 27, Takala was invited to join the Young Artist Programme in the renowned Semperoper in Dresden, Germany, where she still works – now in the soloist ensemble.
Opera houses usually have young singers start with smaller roles and work their way up from there, as they develop their voice and skills.
“Smaller houses may sometimes make you sing a variety of Fachs: Mimi [in Puccini’s La Boheme] one day and Queen of the Night the next. So, in these places you must be very careful not to burn out or ruin your voice. In any case, it can be tough as you have to learn many roles within a limited amount of time and rehearsals. But this also helps you grow”, Takala says.
The so-called repertoire houses, having their own ensemble, can perform more than 30 operas a year. Rehearsal periods are often short.
“In the beginning it surprised me how few rehearsals they have. When I sang Papagena [in Mozart’s the Magic Flute] during my first season, we had no stage or orchestra rehearsals at all! It was just a couple of rehearsals in the rehearsal hall and then straight to the performances. You have to be very well prepared. I studied from their DVDs how everything is supposed to go. I was terrified – and learned a lot about handling stress”, Takala recounts.
The critical gain of working in an ensemble is diversity, she says.
“You are cast in lots of different kinds of roles and music and get to try many different styles in your Fach. And you learn to act these roles.”
Embracing the best of both worlds
Besides working as a soloist in the Semperoper ensemble, Takala, now 34, also works as a freelancer.
“In this combination you get the best from both worlds.”
Recently, she has performed at the Hamburg, Helsinki and Zürich opera houses and made guest appearances all around Europe.
“As a freelancer, you have more freedom. You perform your opera or concert projects and for the rest of the time you are free to do whatever you want. You are not so tied to a certain city. You can sing your main roles and not do much “extra” work on top of your core repertoire”, Takala says.
In an ensemble, it’s possible that a singer is obliged to take part in extra concerts or projects at the opera house, or they might have to sing a certain amount of performances also in smaller roles.
“On the other hand, when working in an ensemble, you get to stay in one place and focus on your work there, where you know the people, the stage and how everything operates. There is much more of a feeling of a home stage and a “work family”, Takala adds.
Singing technique is the basis for everything
Singing technique is the basis for everything, Takala says
“It’s your most important resource. You have to know what you are doing technically. Your voice also keeps changing, so you keep working on it through your whole career. Even as an established artist, one often has a voice teacher to talk to and check on things, coach you for a new role.”
She also takes time to develop her stage work and acting.
“It’s also imperative to really understand what you and the others are singing about in whatever language. Learn the text through your own translation; it also helps your acting.”
Musical styles are another dimension of an opera singer’s competence.
“You must understand how Mozart is different from Verdi or Händel from Strauss – the different musical styles and their traditions. In auditions, casting directors also pay attention to these stylistic differences; one cannot sing everything in the same way. And auditions are very important for making connections.”
Tuuli Takala encourages young singers to explore history and art, read books, watch movies – and find role models for their voice and interpretations.
“Follow your colleagues and idols. Observe, listen, and analyse their work and acting. You can learn a lot from people who are better than you. However, don’t imitate anyone else. It’s your authenticity and artistry that count, not sounding like someone else. Find your own way of doing a role. And be honest and true to yourself.”
Try things out of your box
Aspiring opera singers often ask Takala’s advice on how to profile oneself.
“My experience is that people are singing versatile roles, it is not so boxed up. It is good to have an idea of your voice and Fach, but also an open mind, and try things that might be a little out of your box. Especially during your years as a student, don’t be afraid to try out different kinds of repertoire. This will make you learn more about your own voice and trust your instincts later on.”
Also, choosing roles comes from trying out different things.
“Everybody has an opinion about what you should sing. And these opinions might also differ greatly. In addition to voice, your age, personality, style, and your looks can give you an idea of what roles would be ideal. What comes more naturally to you – calm, lyrical, noble… or perhaps lively, sparkly, funny, or dramatic…”, Takala reflects.
“It is important to have trustworthy people who can help you when in doubt and also rely on your instinct. Your voice will tell you if something is not right”, she adds.
Takala also recommends exploring the vast material available online.
“For example, on just www.operabase.com you can see: this type of voice is singing this role in this or that house. How would your voice fit in this constellation? Theatres and opera houses cast in a different way, depending on many things. But this is a good way to mirror yourself to the rest of the opera world and help with planning your career.”
Sometimes it is good to take some risks with roles.
“When you have the right amount of challenge, you develop as an artist. It is a balance between challenge and your comfort zone. Of course, with some roles, the challenge can be too great and have bad consequences. So, naturally one must assess when the risk and challenge is a good fit.”
Living the life of an athlete
Tuuli Takala finds the work of a professional singer in many ways similar to the life of an athlete. Physical, vocal, and mental condition is the foundation for all, disciplined practice a lifestyle, and constant development and excellence the mindset.
“Just like an athlete, you give one hundred percent when you perform. And just like an athlete, you need to rest afterwards”, she says.
Listening to your body is important overall.
“We don’t speak that much about vocal problems and illnesses that can affect your voice in the opera world. There is a little stigma involved because some problems do stem from doing things wrong technically. But there are also many other things that can cause vocal problems. One should not feel shame or inferiority because of this. Most problems can be solved.”
Insecurity, nervousness, or stage fright will never completely go away, says Takala.
“You learn to cope with it and ease it. It also changes the more experience you gain. You can come up with your own routines that can bring you security and peace of mind.”
Other aspects of life can sometimes be difficult to combine with this profession.
“When you travel for work, most of the time you are alone. And even though making opera is a very social profession, one can sometimes feel very lonely in a new place. Sometimes you have a lot of fun with the ensemble you work with! But sometimes it can be less social. One has to learn to cope with loneliness.”
Takala was in some kind of long-distance relationship with her husband for six years.
“We had a home both in Finland and in Germany. It was very tough at times, but it is also completely manageable and possible. We are still happily together and now also starting a family”, Takala says.
Embrace all the good moments
Takala encourages young singers to be proud and happy of their own success when it comes.
“You are your worst critic after all”, she says. “And there are many, many days when you feel that you are no good and nothing is working, and you might be under a lot of pressure. But this is balanced off by the good experiences. So, remember to always embrace all the good moments and celebrate them.”
“Also, be a good colleague to others. Opera houses very often hire people who are good to work with – it is almost as important as being a good singer. It is nice to work together when the atmosphere is good. It doesn’t mean that you have to do anything or everything – know your boundaries. But also, don’t be a diva or unkind to your colleagues. In the end, opera is teamwork, and when the atmosphere in the team is good, the more fruitful and creative the whole project will be.”
Finally, there is always more to life than the world of opera.
“Your identity should not be solely an opera singer. It shouldn’t be everything. There is much more to life than just opera”, Tuuli Takala sums up.