In 2016 women are still under-represented in classical concert repertoire, never mind the canon. At contemporary music concerts, however, women appear as composers with increasing frequency. How should we address the issue of a composer’s (female) gender in this day and age? Are we really still talking about this, in Finland?
The Tampere Biennale celebrates its 30th anniversary this year. Launched in 1986 and held in April in even-numbered years, its profile is that of a domestic review of contemporary classical music, with commissioned works and premieres. It alternates with Musica nova Helsinki, which is more international in content and is held in odd-numbered years.
Kimmo Hakola writes about three opera performances at the Helsinki Festival 2015 and analyses the current state of the opera in Finland.
"Instead of lingering on single moods, Wennäkoski favours in her music filigree-like details. Flawless performances throughout."