Faculty Statements

Markus Lehtinen The Sibelius Academy of Uniarts Helsinki Professor (Opera) and Conductor

"Limitless Power of Man”

In 2017, composer Uljas Pulkkis presented me his idea of composing a new opera. Already then it was clear, that the opera would be based on a play by Glenda Dawn Goss, portraying the Chernobyl nuclear catastrophe. The idea was interesting in many ways and in the opera, many topics were reflected through the nature, animal characters and voices of the river. Quite soon after the first meeting it was also confirmed that the composing process would be part of Pulkkis’ artistic doctoral work. This way the project got an interesting new layer.

To write a new opera for the students of Sibelius Academy Opera Master’s Program, you have to take several factors into consideration. There cannot be too many roles; 10 solo singers would be ideal. The composer should know the students of the Opera Program in order to compose vocal parts suitable for these specific voices and characters. Since the singers are fairly young, too heavy or dramatic parts should be avoided. Because the performances would be taking place in Sonore Hall, there cannot be more than approximately 32 musicians in the orchestra pit.
I asked Uljas Pulkkis that there should be as many big roles as possible, that all the singers should have challenging parts to perform both as a singer and as an actor – so nobody would be too long alone in the spotlight.

“When you focus the spotlight so much on one person, I think it’s very, very dangerous.” Roy Hodgson

Uljas Pulkkis has composed most an interesting opera with great and challenging roles for all soloists. It has dramaturgically strong score and the opera is full of colorful orchestral music. The collaboration between soloists and composers has always worked well, and it has been possible to process the composition in a positive dialogue so that everything that is sung works smoothly in terms of song and lyrics.

Originally the premiere was supposed to be in March 2021, but the worldwide pandemic made the original plan impossible. During the uncertain times it was clear, that the opera wouldn’t be able to be performed with the orchestra in the original schedule. Due to the uncertainty, the continuation of the project was floating in the air and nobody of us knew, would we be able to perform the opera at all.

From the early days of this project, Kaarlo Hildén, (Dean of Sibelius Academy in 2017–2020, Rector of the University of the Arts Helsinki 2020–) spoke to Robert Cutietta, Dean of Thornton School of Music (University of Southern California) about the idea of collaboration around the production All the Truths We Cannot See, A Chernobyl Story. The interest was mutual. Soon it became clear that the opera would be directed by Professor Ken Cazan, and a good half of the Artistic Team would come from Los Angeles and the other half from Helsinki.

The idea of sharing the roles with students from both schools was an essential element of the collaboration, to learn from each other and to experience the process and grow together. Because of the cancellation of the original premiere of the opera in March and April 2021x we were not at all sure what would happen with this marvelous and interesting piece, nor would it ever be performed. But thanks to our mutual interest and commitment, we decided not to give in. And so, in spring 2021, we decided to find a new schedule for the production.
When the five exchange students and Ken Cazan from Thornton arrived on Saturday, 22 January, we all realized that the production is finally going to happen. It is also great that the international Environmental Opera Research conference is organized on 18 March in connection with this production.

“Earth has its boundaries, but human stupidity is limitless.” Gustave Flaubert

Never could we have imagined that with this production we would so be intensely cast in the middle of dramatic international events in March 2022. The theme of nuclear catastrophe would have been heavy and demanding enough for each one of us. But all of this added up with Russian military actions and invasion on Ukraine territory during the last two weeks, makes this project even harder for all on stage and with everybody involved in this process.

“Violence is the last refuge of the incompetent.”
Salvador Hardin

The opera strongly and in many ways characterizes man's ability to rise above his fellow human beings and show his limitless power over others, over nature and even over the entire universe. How man can be barbaric and how the system in the Soviet Union did not have the slightest respect for human dignity. And how every single person is replaceable within a quarter of an hour.

I want to thank all persons and institutions that have made this production and project possible. This is a project that none of us will ever forget.

Opera is often regarded as a conservative form of art with minimal connection to normal life or the daily events happening around us. Well, we now have all the elements of this opera happening at the same time in Europe, almost as if we were part of every-day news coverage. And finally, it all comes to the completely stupid belief in the limitless power of Man!

“If you think you are too small to make a difference, try sleeping with a mosquito.” Dalai Lama

Despite of it all we have our own story to tell in this opera.
And we are proud to tell it to you today!

Ken Cazan USC Thornton School of Music Artistic Opera Director

Theatre is about risk and telling a true, moving story.

Three years ago, when we began this opera about environmental concerns in the Ukraine and beyond and the incompetence of the Soviet nuclear system, we had no idea that we would find ourselves within 1600 kilometers (approximately 1000 miles) of a heinous invasion perpetrated by a megalomaniacal leader.

We all (the composer, librettist, cast, artistic and production team) feel the weight of the responsibility that has been thrust upon us. Should we pull back on the humor? Should we worry about the story and (spoiler alert) animals dancing around dead bodies, celebrating their survival in the final scene? Should we worry about 1980s Soviet propaganda onstage?
Theatre is about risk and telling a true, moving story. To quote Glenda Goss’ libretto, “Since time immemorial” theatre has been confrontational, taking risks to reflect the current time and to edify historical events whether they involve political, sexual or religious mores. As of this moment, this piece does all of that.
We must be aware that the opera itself is set during the Soviet era and also acutely aware that the Russian leadership of today appears to be, arguably, not much different than it was on April 26, 1986, at approximately 1:30 am, when ego and sloppy workmanship caused the worst nuclear disaster in the history of the world.

We are taking those risks and forging onward with what I believe is an important work of art, the thrust of which is amplified by current world events. If we can help our audiences empathize with what is happening within 1000 miles to our south, raise awareness of the ecological disaster facing our planet, and sympathize with the characters and relationships onstage, then we have succeeded in our mission.

A note about the Bear: Russia does not have exclusive rights to the image of the Bear as a symbol of the nation. In fact, the Ukrainian New Year (Malanka) is a centuries old tradition, filled with ancient ritual, folklore and magic. At the center of this ritual is and always has been the Bear. Some costumes of the Bear used in this celebration are so huge and elaborate that the people inside have to be sewn into them. Glenda Goss used the Bear and its instinctive wisdom to help represent the miracle of the survival of the natural world, whether it is in Chernobyl or beyond.

Long live the independent democracy of Ukraine.