From Folk Traditions to Global Stages Vilma Jää’s Unlikely Journey Into One of the Most Acclaimed Operas of the 21st Century

When Vilma Jää first enrolled at the Sibelius Academy to study folk music, a career in opera was far from her expectations. Yet her journey would take an unexpected turn when she became part of one of the most critically acclaimed operas of the 21st century.

At the time, Kaija Saariaho—widely regarded as Finland’s leading opera composer—was developing her ambitious work Innocence. She envisioned a character whose voice would break away from traditional operatic conventions, instead drawing from authentic Finnish folk traditions. After discovering Jää’s performances on YouTube, Saariaho invited her to submit an audition tape.

Jää accepted, intrigued by the opportunity. While Saariaho was a well-known figure in Finland, Jää admits she had little connection to classical music at the time. Her upbringing in Helsinki was shaped more by folk traditions than opera. Although her father was an opera enthusiast, it was her mother’s deep involvement in folklore—through dance, teaching, and festival organization—that left a lasting impression on her musical identity.

For the audition, Jää presented four distinct Finnish folk styles, two of which ultimately became part of the opera. That submission marked the beginning of a collaboration that would place her at the center of an international production.

Her role as Markéta introduced her to the global opera stage, beginning with the world premiere of Innocence at the Aix-en-Provence Festival in 2021. The production went on to major cultural centers including London, Amsterdam, San Francisco, and eventually New York, where it is staged at the Metropolitan Opera.

The opera itself unfolds across two timelines set a decade apart, presented simultaneously through a split-level revolving stage under the direction of Simon Stone. One narrative follows a wedding banquet, where hidden connections slowly surface, while the other revisits a tragic school shooting at an international institution. With a libretto by Sofi Oksanen, the work brings together 13 characters who perform in multiple languages, blending spoken and sung elements into a richly layered experience.

Conductor Susanna Mälkki, who led both the premiere and subsequent productions, emphasized Saariaho’s intention to create a diverse musical landscape. Within this framework, Jää’s contribution stands out as particularly striking—an unexpected fusion of vocal tradition and contemporary opera.

Once Jää joined the production, her collaboration with Saariaho became deeply interactive. While some material for her role had already been composed, much of it evolved through their shared exploration of vocal techniques. Jää introduced Saariaho to the nuances of Finnish folk singing, guiding everything from vowel placement to pitch limitations. In turn, Saariaho would send compositions for feedback, shaping the music around Jää’s voice and expertise.

Among the traditions incorporated into Markéta’s character is Karjankutsu, a traditional herding call characterized by its high pitch, direct tone, and absence of vibrato. Designed not for beauty but for distance, the technique historically allowed voices to carry across vast forest landscapes.

Another key influence is the Viena Karelian yoik, a style known for its expressive, often playful tone. It includes distinctive voice-breaking techniques and improvisation, using minimal pitches to create emotionally resonant phrases. These elements added a raw, human texture to the opera’s otherwise intricate musical structure.

Director Simon Stone noted that Jää’s vocal style brings a sense of purity to her character—an emotional contrast to the opera’s heavier psychological themes. This innocence, reflected both in performance and sound, creates a unique balance within the production.

Mezzo-soprano Joyce DiDonato, who plays Markéta’s mother, described Jää’s presence as both serene and deeply moving. Her performance, she said, lends particular weight to the opera’s closing moments, making them profoundly emotional.

Beyond Innocence, Jää continues to build a multifaceted career as a singer, composer, instrumentalist, and researcher. Her debut album Kosto reflects her ongoing exploration of blending traditional Finnish sounds with contemporary electronic elements.

While her future in opera remains open-ended, Jää acknowledges the unparalleled experience of performing with a full orchestra. For her, live orchestral music offers a depth and vitality that cannot be replicated elsewhere—an evolving, breathing form of expression that continues to shape her artistic path.