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BIOGRAPHY |
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In spring 2024 gab Paulina Linnorsaari made her successful debut as ELISABETH in Tannhäuser at the Karlsruhe State Theatre.
Recently, she has become a member of this very opera house’s ensemble and was seen here before in her debut RUSALKA and as SALOME.
In the beginning of 2024, she succeeded as MADAME LIDOINE in Dialogues des Carmelites at the der Finnish National Opera Helsinki.
Guest performances already brought the artist as CHRYSOTHEMIS to the Basle Theatre, as MARSCHALLIN to the Bremen Theatre, as FIDELIO to the Chemnitz Opera House, as ARIADNE in Ariadne auf Naxos to the Salzburg Theatre, as SALOME to the Karlsruhe State Theatre and as DESDEMONA to the Savonlinna Opera Festival.
From 2017 to 2023 the Finnish singer was a member of the Saarland State Theatre. Here, she impressed both the press and the audience with her Interpretations of MATHILDE in Rossini’s Guillaume Tell and as ROSALINDE in Johann Strauß’ Die Fledermaus and LEONARA in La forza del destino. Besides, she was MIMI in Puccini’s La Boheme here, sang the title role of Strauss‘ SALOME, was MARSCHALLIN in Der Rosenkavalier, MARIETTA in Korngold’s Die Tote Stadt and MEDÉE in Luigi Cherubini’s opera of the same name here. Moreover, she sang HANNA GLAWAR in Franz Lehar’s Die Lustige Witwe, LEONORA in Verdi’s Il Trovatore, ARIADNE in Strauss‘ Ariadne auf Naxos, LIÚ in Puccini’s Turandot and MICAELA in Bizet’s Carmen.
Already at the tender age of 5, Paulina Linnosaari, who was born in Finland, began her music education on the violin and the piano. Throughout her youth, in addition to her classical music education, she enjoyed playing various band instruments, especially the drums. Later, she studied music and singing at the Sibelius Academy in her hometown.
At the Metropolia University of Applied Sciences (Finland) and the Indiana University Jacobs School of Music (USA) she completed her musical studies. In 2008-10 she was a scholarship holder of the Matti Salminen Foundation at the Finnish National Opera in Helsinki and in 2010 she became a member of the Lyric Opera Studio Weimar.
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| REVIEWS |
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| Künstlertreffen der Gottlob-Frick Gesellschaft in Pforzheim-Niefern und Ölbronn-Dürrn "Verachtet die Meister nicht!" |
Pauliina Linnosaari who sang Mimi’s aria enthralled with a charming and emotionally thrilling „Si, mi chiamano Mimi“.
...with an outstanding vocal and acting presence. Just like Pauliina Linnosaari in Tosca’s aria „Vissi darte, vissi d’armore“, that she impressively performed with plenty of intimacy and painful intensity. …
Pauliina Linnosaari thrillingly fascinated in the aria of Butterfly „Un bel di, vedremo“ from „Madama Butterfly with her exceptional versatility and her highly musical vocal artistry. ...
....tumultuous jubilation. Standing ovations and bravos led to three encores. Pauliina Linnosaari enthralled with a wonderful, soulful „O mio babbino caro“ from „Gianni Schicchi”. |
| Der Neue Merker 11/2024 – Marisa Altmann-Althausen |
| Badisches Staatstheater Karlsruhe – Der Kreidekreis - HAITANG |
| Pauliina Linnosaari succeeds as Tschang Haitang. With her flexible soprano voice , with its lyrically supported naivety, she does not only succeed in convincingly performing the desperate struggle for her child and her own life but also the power to present an emphatic otburst in a Richard Strauss way. t.…-Pauliina Linnosaari‘s s brilliant soprano voice. … |
PZ News
pz-news.de |
| Badisches Staatstheater Karlsruhe – Tannhäuser - ELISABETH |
| ...and the virginally pure Elisabeth. Pauliina Lannosaari succeeded in the role with her secure, brilliant soprano voice and her intense pervasion of the role. This was the case in the dramatic passages, like the hall aria, but also in the challenging lyric of the prayer. |
| OPERNGLAS 7/8 - 2024, J.-M. Wienecke |
| With her dramatical interpretation of the hall aria the soprano definitively rose above the lyrical repertoire. |
| OPERNWELT 6/24 – Alexander Dick |
| The Finnish Pauliina Linnosaari is quierte impressive in this role: with her light, perfectly focussed soprano voice of polished steel, she holds her ground against the choir masses. |
FAZ
faz.de |
| …to the brilliant Pauliina Linnosaari as Elisabeth , who is a vocally attractive counterpart. |
Online Merker
onlinemerker.com |
| Saarländisches Staatstheater Saarbrücken - Die Tote Stadt – MARIETTA |
| With Pauliina Linnosaari in the double role of the dancer „Marietta“ and the Marian Apparition the Saarbrücken State Theatre has succeeded in landing a major casting coup. One has seldom seen and heard this role being sung so spiritedly and played so sovereignly . The mere effortlessness with which she sings the well-known song „Glück, das mir verblieb“ , integrating each and every high peak in the singing line without any sharpness, deserves great admiration. The young soprano has just the right juicy tone which is needed to play the seductress. At the same time, her voice is so stunningly flexible, that the sirenlike calls of the in her dream appearing Marie have something fascinatingly otherworldly narcotic. |
Der Opernfreund
deropernfreund.de |
| The Finnish Soprano Paulina Linnosaari is the star of the evening. Her Marietta is human, harm-hearted, sympathetic, but little femme fatale. |
| SR2 Kulturradio/SR3, 7. Oktober 2018 Reingart Sauppe |
| Badisches Staatstheater Karlsruhe – Salome - SALOME |
| Outstandingly, Pauliina Linnosaari portrays the evil yet dramatical for innocent child, vocally enhancing unto a breathtaking final monologue. |
SWR
swr.de |
| Saarländisches Staatstheater Saarbrücken – Médee - MÉDEE |
| But the vocally most brilliant singer was the soprano Linnosaari. |
Opus Kulturmagazin
opus-kulturmagazin.de |
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