Curated by concertmaster Janne Nisonen and composer Jasper Dommett, this program spans centuries of LGBTQ+ history, featuring both rare gems and timeless favorites. What thoughts might Dommett, along with soprano Samuel Mariño and conductor Vanessa Chartrand—both performing at the festival—have about the upcoming queer celebrations?
Sinfonietta has also commissioned a new orchestral work from Dommett, which will receive its world premiere at the festival’s third Symposium! concert. Dommett is still in the middle of the creative process, but he can already say that the piece doesn’t have a specifically queer theme:
“In my upcoming piece, I’m not starting from a specific theme, but rather exploring my own style. As a young composer, I have the freedom not to be pigeonholed stylistically. I love spectrum music, disco, and hip hop just as much as I love Ligeti and Beethoven. My work is essentially an exploration of what I’ve learned as a composer from the very beginning to this day. This sound is my musical identity without being entirely tied to queer culture. If it turns out to be queer, so be it, and if not, then not.”
In his earlier works, Dommett has explored the stories of queer people, but this time he is attempting to write “abstract music.” Nevertheless, he says it is clear that “the music of a queer composer is always queer as well,” and this diversity of musical aesthetics is very much at the heart of the Tapiola Sinfonietta festival.
“The festival is brimming with wonderful music by queer composers, performed by a fantastic group of rainbow-colored soloists and conductors. That alone is reason enough to celebrate, and on top of that, the festival offers truly unique music. There is so much brilliant music by queer composers outside the canon!” Dommett continues.
And what are singer Samuel Mariño’s thoughts on the festival program? Mariño’s vocal range is soprano, and in the Against The Grain concert, he will perform Claude Vivier’s classic piece of spectral music, Lonely Child, composed for soprano and orchestra.
“Lonely Child is a challenge for me, both musically and, above all, emotionally. When I sing, I can’t hide anywhere—and I don’t want to. I want to reveal myself and show who I am. I don’t want the audience to just listen to Lonely Child, but to become part of it,” Mariño says, adding that she asked her agent to set aside enough time in her schedule to recover from the emotionally demanding performance.
Lonely Child is also close to the heart of the concert’s conductor, Vanessa Chartrand. After all, like the composer, she is from Quebec. According to Chartrand, the life of Claude Vivier—who forged his own path—cannot be separated from the interpretive framework of the work. Chartrand also believes that the life story of Ethel Smyth, whose work will be heard in the same concert, is equally worthy of celebration at a queer festival:
“It is of the utmost importance that these composers be presented not only for their music, but also for their stories. They all possess an immense vitality. They demonstrated resilience, strength, and self-determination to be themselves in a world that did not always accept them as they were—as people, individuals, and artists. In Ethel Smyth’s case, she really had to fight to be recognized as a composer. I think it’s important to celebrate this aspect—how prejudice and narrow-mindedness can be overcome by highlighting such examples of resilience. All in all, the festival has an inspiring and moving program that’s not to be missed!”
It seems clear that the Tapiola Sinfonietta’s Queer Festival matters, but in what way? All three of them have a unanimous answer to this. The festival is a welcome step forward, as the world of classical music is often too timid. “If classical music wants to survive, it has to step up its game,” Dommett emphasizes, continuing:
“We now have a queer-themed festival in November, outside of Pride season. We get to celebrate queerness, resistance, and openness!”
