Finnish soprano Jenni Lättilä graduated from Sibelius Academy with Master’s degrees in Church music and Opera, with Pekka and Outi Kähkönen as her voice teachers, and continued her vocal studies with Dorothy Irving and Susanna Eken. She received her doctoral degree (D.Mus.) from Sibelius Academy in 2016, where she also works as a voice teacher.
Jenni Lättilä is a prize winner of several national and international singing competitions. In 2009 the Finnish Wagner Society awarded her a scholarship to the Bayreuth Festival. Her dramatic soprano is especially well suited to the great female roles in operas by Verdi and Wagner, and it was as Lady Macbeth in Verdi’s Macbeth that she made her professional debut in 2010. She made her debut in Finnish National Opera in Wagner’s Ring 2011 singing three roles, and has been a regular guest at FNO since then.
Jenni Lättilä is much in demand as an orchestral soloist, and she also performs actively as a Lied recitalist with her regular pianist partner Kiril Kozlovsky. As a versatile and skilled musician, she has also made a name for her performances and premieres of Finnish and Nordic contemporary music.
Es gibt ein reich
Dich teure Halle
Jenni Lättilä’s performance of Karol Szymanowski’s highly demanding song cycle Des Hafis Liebeslieder op. 26 was another delight in the concert. Ms. Lättilä’s soprano has obtained maturity and carrying power.
When her voice had wind beneath its wings, it soared beautiful and enjoyable. She still has some fine-tuning to do securing the highest range and strengthening the middle, but she has what it takes to be a first class Wagnerian soprano. That can also be heard on her excellent debut album of Wagner’s Complete Lieder (Sibarecords 2016).
HELSINGIN SANOMAT 23.10.2016
Turku Philharmonics kicked off their 225th anniversary year with panache by providing a staged performance of this ultra-challenging classic of musical expressionism, with Jenni Lättilä in the leading role. Her performance made me wish that vocal soloists would more often have the courage needed for full stage presence in front of an orchestra. The soloist immersing herself totally into the work with full operatic bodily expression released new overwhelming energy from Erwartung. […] Maestro Leif Segerstam laid out the orchestral texture as a dream-like, soft landscape, where depth and color, not the fragmented and lucid surface, was emphasized. This was fully convergent with Ms. Lättilä’s dramatic flux of voice, painting the inner landscape of the delusional Woman with a wide romantic brush but avoiding all heaviness and monotonousness. Ms. Lättilä’s downright enormous voice has a fine floating quality and – even surprising – vivaciousness, based on good text and unfailingly flowing legato line. Her Erwartung built on speech-like, yet vocally abundant stream of consciousness, which she colored with straight tones, altercations, metallic shouts and downy pianissimos.
RONDO CLASSIC 02/2015
Most of the selections [on Wagner’s Compled Lieder, SibaRecords 2016] are sung by the Finnish soprano Jenni Lättilä, acclaimed as a Wagnerian soprano, at least on the other side of the Atlantic Ocean. She has a solid sense of pitch that serves her well in singing “La tombe dit à la rose …,” which has an entire vocal line but only three notes on the piano staves. Lättilä sings the whole thing a cappella, and it makes perfect sense that way. [—] While all of these selections have a fair share of novelty value, the only Wagner songs that are performed regularly are those in the Wesendonck Lieder, composed while he was working on Tristan und Isolde (and engaging in an illicit relationship of his own). While Lättilä may overdo the dramatics of Gretchen behind her spinning wheel more than a little, she knows exactly how to home in on the expressive core of the Wesendonck Lieder. These are the final tracks on the album, and they provide more than adequate compensation to anyone who has listened to all of the preceding tracks!
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