Professor of Opera Markus Lehtinen: The anatomy of an artistic collaboration – the connections that endure
Five years ago, a unique partnership emerged between the Voice Departments of the Juilliard School and the Sibelius Academy of Uniarts Helsinki. Throughout this journey, I kept a detailed diary, capturing the key moments and findings that brought to life a collaboration, which became known as “Touching magic” – an unforgettable experience.
The first project in this remarkable partnership reached a memorable conclusion in New York in September 2024.
One of the pivotal moments came when Juilliard’s President, Damian Woetzel, spotlighted the importance of our collaboration during his inspiring opening speech of the academic year, underscoring just how vital this project is for both institutions.
Throughout the project, I had the privilege of connecting with influential figures across various disciplines, exchanging ideas, gaining deep insights from their expertise and building valuable relationships – contacts I’m excited to share for the benefit of our university community.
Now, let’s rewind to where it all began.
Spring 2019: A connection is made
Kaarlo Hildén, then-Sibelius Academy Dean, now Uniarts Helsinki Rector, and renowned Finnish tenor and Artistic Director of the Helsinki Festival, Topi Lehtipuu, have a plan: to reach out to reputable music schools worldwide, particularly targeting departments of Early Music, Voice and Opera.
Their goal is to enhance the programmes at the Sibelius Academy and foster pedagogical and artistic exchanges in various forms.
As part of this initiative, Topi Lehtipuu visits the renowned Juilliard School in New York, where he engages in productive discussions with Brian Zeger, Artistic Director of the Ellen and James S. Marcus Institute for Vocal Arts.
In June 2019, Juilliard 415 (Early Music Ensemble) performs in London. Following Hildén’s initiative, I travel to London to attend the performance and, more importantly, to meet Brian Zeger.
We connect immediately, and a wealth of collaborative ideas, benchmarking opportunities and collegial insights emerge. We are eager to initiate the collaboration right away.
Covid-19: Support by zoom
In spring 2020, Covid-19 paralyses all our projects to a standstill for two to three years. However, Brian and I maintain our connection, exchanging emails and having Zoom meetings almost every month to support each other through these rough and troubled times. I feel that we truly get to know each other well during these months and years.
Spring 2023: The concept comes together
In early 2023, Brian and I decide it is the right time to start this project for real.
Our duo transforms into a creative trio as Martina Roos, Lecturer in the Department of Vocal Arts at the Sibelius Academy, joins to play an essential role as the designer of dramaturgy, responsible for implementing stage elements and planning the visual aspects of the performances.
The concept involves two vocalists and a pianist from each school. We aim to recruit voice students of various voice types who are young yet possess the technical and musical maturity necessary to express deep emotions. We both propose singers and pianists who are openminded and stimulated by new languages, both verbal and musical.
The Juilliard students will sing Finnish songs composed in Swedish by Sibelius and other composers, while the Sibelius Academy students will present American songs ranging from classics by Charles Ives to contemporary works from the 2010s to the 2020s.
The concert, named as “Touching Magic”, will be a musical, textual and associative journey of emotions and actions, rather than a traditional recital featuring songs by a single composer in one block. It will incorporate stagecraft, acting and communication elements, with the primary focus on the songs themselves.
Early 2024: Finances confirmed
We are thrilled to receive financial support for the project from Svenska Kulturfonden and the Finlandia Foundation National whose Executive Director Thomas Flanagan has worked very hard to gather the funding together.
The final confirmation for this project comes from Adam Meyer, the Provost of the Juilliard School, who expresses his desire for the project to proceed and indicates that Juilliard is also willing to provide financial support if needed to ensure its success.
Spring 2024: The collaboration begins
In April, a unique group of students is formed as Danish-Italian pianist Francesco Barfoed, Moroccan soprano Abla Benzemroun and American tenor Jack Hicks from Juilliard connect in online sessions with Mexican-Finnish singer, composer and pianist Gabriel Kivivuori Sereno, Finnish pianist Kiia Nordlund and Finnish singer Adelia Spångberg from the Sibelius Academy.
They work with language, phonetics, text analysis, structure and interpretation with coaches from both sides, Martina Roos from the Sibelius Academy and Kathryn LaBouff from Juilliard.
Since three of the American composers are active and available, we also arrange for all the performers to have contact with them.
Mid-May 2024: Easy flow of ideas
Brian Zeger arrives in Helsinki, sharing his extensive expertise and passion for classical voice with colleagues at the Sibelius Academy.
Brian meets with the faculty of the Vocal Arts Department and other Sibelius Academy colleagues and gives invaluable lectures on the USA as a marketplace for classical voice, focusing on professional profiling, career planning and essential vocal repertoire.
Additionally, he teaches and coaches singer-pianist duos in Lied workshops and Demo Audition Repertoire sessions, leaving a lasting impact on both students and faculty alike.
As the Juilliard students arrive, we embark on a tour of the Musiikkitalo building together, followed by preparations for our four-day workshop at Kallio-Kuninkala.
Even after a short time together, we are witnessing an exuberant, free exchange of ideas and cultures. The relaxed, idyllic atmosphere of Kallio-Kuninkala certainly contributes to this easy flow of ideas. Both Brian and I, along with Martina Roos, observe, in the best possible ways, what open dialogue means.
In Kallio-Kuninkala, we are also visited by Sibelius Song expert and former Sibelius Academy rector, Gustav Djupsjöbacka, whose insights and expertise enrich our work.
End of May 2024: The first concert
Back in Helsinki, we have a run-through in Musiikkitalo’s Camerata Hall for our very first concert the next day.
The Finnish Swedish-language repertoire includes songs from Heta Aho, Eino Juhani Rautavaara and Jean Sibelius together with American songs by Charles Ives, Libby Larsen, Ben Moore and John Musto.
The event page of the Touching Magic concert is available on the uniarts website.
We are happy to have Sibelius Academy Vice Dean Jenni Lättilä and Ms. Susan E. Bridenstine, Counsel for Public Affairs of the U.S. Embassy, attend the special occasion on 24 May.
August 2024: The programme reinvented
Brian, Martina, and I decide to enhance the programme by adding some songs. We anticipate that there will be no applause between pieces, allowing for a seamless flow as the stage activities transition smoothly from one song to the next.
We also recognise that the venue for our New York concert will be smaller and will lack certain light effects. The Paul Recital Hall at Juilliard is an exceptional space for vocal and acoustic performances, so we refine the Juilliard version of our concert, placing greater emphasis on musical interpretation and reducing the stage elements.
In preparation for our trip to New York, we also organise Zoom sessions focusing on phonetic details with Kathryn LaBouff and Martina Roos.
September 2024, chapter one: Fostering connections in New York
Upon our arrival at Juilliard on Monday, 9 September, we receive our weekly schedule detailing all events and sessions – a thoughtful touch that impresses us as this is provided to all students at the Ellen and James S. Marcus Institute for Vocal Arts, established in 2010.
On 10 September, the Finlandia Foundation National, along with Kyle Reinhart from the Scandinavia House, organises an event to connect with Finnish and Scandinavian members. Our audience is slightly smaller than expected due to the first live presidential debate between Kamala Harris and Donald Trump.
We encounter several Finnish-speaking New Yorkers, including Eero Kilpi, President of the Finlandia Foundation New York chapter, as well as individuals connected to Finnish arts and culture, like pianist Ossi Tanner’s “Manhattan Mama.”
Later in the week, we are thrilled to hear that Brian Zeger has arranged a visit to the Morgan Library, a renowned venue for fine art, literature and music. He invites us to compile a list of manuscripts we’d like to see, and to our delight, all our wishes are granted. We are warmly hosted by Music Curator Robinson McClellan and get to explore extraordinary manuscripts by Schubert, Bach, Mahler, Puccini, Faure, Debussy and Fanny Mendelssohn.
Our week culminates in an inspiring luncheon at the Consulate General of Finland in New York, where our Sibelius Academy team together with Brian and Juilliard Administrative Director Andrew Gaines engage in a meaningful discussion about cultural connections with Consul General Jarmo Sareva, Mrs. Jaana Sareva and Anssi Vallius, Special Adviser for Cultural Affairs and Creative Industries.
September 2024, chapter two: Celebrating artistry and collaboration
On 12 September, we eagerly attend the opening evening of the Juilliard Fall Festival, a new 10-day event of concerts and performances initiated by President Damian Woetzel. The gala features brief introductory performances from all Juilliard disciplines.
At President Woetzel’s request, the Voice Department includes a teaser for our Touching Magic concert, showcasing soprano Saniyyah Bamberg and pianist Joshua Mhoon performing Jonathan Reid Gealt’s “Quiet,” alongside tenor Jack Hicks and Sibelius Academy pianist Kiia Nordlund presenting Charles Ives’ “Circus Band” in celebration of his 150th anniversary. The performances are stunning and reflect an impressive artistic level throughout the evening.
In his speech, President Woetzel highlights Juilliard’s strengths and mentions the Sibelius Academy as a key partner. I am fortunate to meet him several times during the event.
This journey also allows me to visit the Manhattan School of Music, where Erin Reppenhagen, Administrative Associate to the Provost and Academic Deans, graciously shows me around. The Voice Department hosts 160-180 classical voice students and 80 music theatre students, along with collaborative piano students.
I meet with the Distant Learning and Online Concert and Streaming Activities teams, recalling my past remote teaching with their students and their ongoing developments – truly inspiring!
A lunchtime discussion with Carleen Graham, Dean of Vocal Arts, explores university life post-Covid-19, feedback practices, the realities of professional life, intense competition and the evolving cultural landscape. We share intriguing ideas for future collaboration in Voice, Opera, Opera Coaching, Collaborative Piano and Music Theatre.
Afterward, I observe rehearsals of four singers preparing for an outdoor concert at Verdi Square, engaging with motivated students who exhibit a positive atmosphere.
Finally, I have a brief meeting with Edvard Sandbakken, a Norwegian-Finnish baritone studying at MSM. Although time is limited for a deeper conversation or performance, we later exchange messages in Finnish.
September 2024, chapter three: Concert at Juilliard
Our concert on 13 September opens with remarks from David Serkin Ludwig, Dean of the Music Division and grandson of renowned pianist Rudolf Serkin, who commends the collaboration between our two esteemed universities.
The New York concert includes works by Finnish composers Eino Juhani Rautavaara and Jean Sibelius, as well as American composers Samuel Barber, Aaron Copland, Charles Ives, Libby Larsen, Ben Moore, John Musto, and Ned Rorem.
The full program is available on the Juilliard website.
The Paul Recital Hall is filled with an enthusiastic audience, including composer Ben Moore and friends of the Sibelius Academy, such as Leland Hoch and his wife Barbara, along with young Finns studying or working in New York, like Helmi Korhonen and Frans Saraste. Everyone appreciates the performances and our concept.
Since the concert was live-streamed, we also receive feedback from online viewers, notably composer Libby Larsen, who had two of her pieces performed.
Larsen wrote to Brian: “Gabriel Kivivuori Sereno cast such a spell over the hall with his performance of How Many Roads to Reach a Kiss – he captured the vulnerability of love with his assured, quiet interpretation of the poem. And Adelia Spångberg’s performance of I Make My Magic was nuanced, with just the right hint of answer to the unasked questions posed in the subtexts of the poem. Kiia Nordlund’s collaborative work with the two singers was so impressive. I hope to hear much more of her.”
September 2024, chapter four: Embassy Concert in Washington, D.C.
The day after our concert, we face unexpected challenges as some members of our group test positive for Covid, necessitating a swift reworking of our programme for the upcoming performance at the Finnish Embassy in Washington, D.C.
The concert is organised with the help of Thomas Flanagan, Executive Director of the Finlandia Foundation National, and the Public Diplomacy Section of the Finnish Embassy, including Hannakaisa Andersson, Otto Mattila, Riikka Hietajärvi and Sonja Hyvärinen.
Ultimately, the Sibelius Academy team will present the Embassy Concert, with Brian Zeger from Juilliard joining me as musical hosts for the evening. Before the concert, Brian and I have a reflective discussion, exchanging thoughts on the project and brainstorming future collaborations, resulting in an exciting array of new ideas.
Our Touching Magic Concert marks a significant milestone as the first “open” concert for invited guests at the Embassy under the new Ambassador of Finland to the USA, Mrs. Leena-Kaisa Mikkola.
The event’s significance is heightened by the presence of many prominent figures meeting the ambassador for the first time, leading to the addition of 30 extra chairs, much to the delight of the embassy hosts. Guests include representatives from the Italian Cultural Institute, Austrian Embassy, U.S. Military, U.S. Navy, Pentagon, academia, and the Finlandia Foundation National.
The programme, celebrating Nordic and American song, is perfectly suited for the occasion. Adelia, Gabriel, and Kiia delivered a stunning performance of works by Aho, Ives, Larsen, Moore, Musto, Rautavaara, and Sibelius.
It is rewarding to witness the deepening technical execution and emotional interpretation of each piece as they evolved throughout the process.
September 2024, the final chapter: New horizons in Boston
On Tuesday, 17 September, the Sibelius Academy students take a train to New York for their evening flight back to Helsinki, while I continue to Boston and the Boston Conservatory at Berklee.
I meet Kim Haack, Associate Vice President of Administration, and Isai Jess Muñoz, Interim Dean of Music, who provide a tour of the Conservatory and Berklee. I’m impressed by the seamless connection between the College and Conservatory, as well as the diverse facilities, including Houston Hall and the main stage, equipped for large productions.
At Seully Hall, I observe a rehearsal of the first scene from Summer and Smoke, composed by Lee Hoiby. The energy and camaraderie during the rehearsal are inspiring.
The day concludes with a memorable dinner with Associate Professor Andrew Bisantz, Senior Voice Teacher Kathryn Wright, Jess Muñoz, Interim Chair of Vocal Arts Sara Goldstein, and Interim Executive Director Michael Shinn.
We discuss collaboration opportunities in voice, opera, orchestra, conducting, and music theatre, exchanging thoughts on pedagogical approaches and artistic activities with enthusiasm and mutual understanding.
October 2024: Reflections and learnings
Upon returning home, I reflect on this extraordinary journey filled with incredible people.
I cannot emphasise enough the tremendous effort Juilliard put into making our unforgettable days in New York a reality. The leadership was deeply involved, actively promoting our collaboration and meeting with us on multiple occasions.
This journey has reaffirmed that establishing strong international connections relies greatly on personal relationships and direct, face-to-face interactions.
It has been a truly unforgettable experience, one that feels like a grand adventure. As composer Libby Larsen wrote in her feedback – Bravo to all!
Markus Lehtinen
About the writer
Markus Lehtinen is a renowned opera and ballet conductor with a distinguished international career. Specialising in contemporary opera, he has held key positions at the Royal Danish Theatre and the Finnish National Opera, and has served as Artistic Director of Jyväskylä Sinfonia and Principal Guest Conductor of Malmö Symfoniorkester.
Lehtinen has conducted at prestigious European opera houses, including Hamburg Staatsoper, Wiener Staatsoper and Deutsche Oper Berlin, and has appeared at the Savonlinna Opera Festival for over 20 summers. He is also a concert pianist and chamber musician, and has been a Professor of Opera Studies at the Sibelius Academy since 2004.
