REVIEWS

Mezzo-soprano Tuuri Dede sang the complicated live musical text with remarkable ease, from the dramatically sustained pitches in the opening bars to the onomatopoetic, invented language into which the narration ultimately devolves.

(Bachtrack)

https://bachtrack.com/review-video-hannigan-patoulidou-vivier-haydn-gothenburg-symphony-september-2021

Hannigan is herself an extremely prominent and virtuoso singer. But here she leaves the song to two younger colleagues, the mezzo-soprano Tuuri Dede who sings the solo part in Vivier’s “Wo bist du Licht” from 1981 and the soprano Aphrodite Patoulidou who is the soloist in the said “Lonely child” from 1980. Both make absolutely phenomenal contributions and get the passages where Vivier uses his own, made-up language to sound both idiomatically natural and genuinely foreign. Words, tones and experiences on the border. But above all, there is an outstanding precision in the individual details, a sharpness that creates lines and correspondences, meditative states, political charges.

(Magnus Haglund, Göteborgs- posten)

https://www.gp.se/kultur/kultur/recension-hannigans-överraskning-på-göteborgs-konserthus-1.5513482

The inexorable raw and blackened “Wo bist du Licht?”, With samples of the voice of Martin Luther King, tells of the assassination of Robert Kennedy and the Vietnam war where the vocal voice was pushed to the limit of madness by the sovereign Tuuri Dede who belongs to the international mentor project of Hannigan Equilibrium for Young Artists.

(Dagens nyheter)

https://www.dn.se/kultur/barbara-hannigan-tillbaka-i-goteborgs-konserthus-med-tat-dramaturgi/

Tuuri Dede's Irene was ecstatic and passionate, her vocal performance flawless.

Tuuri Dede Irene oli ekstaatiline ja kirglik ning vokaalne esituski laitmatu.

(Andreas Kalkun 2022)

https://www.sirp.ee/s1.../c5-muusika/baroksed-ekstaasid/

Tuuri Dede's performance was magnificent, also technical wise. Especially impressive was her lower register, which disabled her to use her "operatic" voice. That register brought us her powerful, but at the same time warm and deep natural voice and also allowed the audience to understand the text better.

Tuuri Dede esitus oli võrratu, ka tehniliselt. Eriti mõjus oli tema väga madal register, mis ei võimalda enam „ooperilaulja häält“ tekitada. Seal tuli rohkem esile laulja jõuline, samal ajal soe ja sügav loomulik hääl ning ka tekst kandus paremini kuulajateni.

(Äli-Ann Klooren 2022)

https://sirp.ee/s1.../c5-muusika/maestra-ester-magi-100/

Tuuri Dede- she offered the audience everything that is behind the words and between the notes, and that was really captivating. Her every musical gesture and word are very expressive. Her interpretation of Mahler´s “Das irdische Leben” was exactly opposite of what I would imagine, but it was so convincing that it was just fantastic. If you perform your music convicingly, then that´s how it is in art. If the listener comes along, then your job as an interpreter is done.

Tuuri Dede – tema tõi saali kõike seda, mis on sõnade taga ja nootide vahel, see tõesti paelus. Iga tema muusikaline žest ja sõna on hästi väljenduslikud. Tema Mahleri “Das irdische Leben” interpretatsioon oli risti vastupidine sellele, mida mina ette kujutasin, aga see oli niivõrd veenev, et see oli lihtsalt fantastiline. Kui sa esitad oma loo veenvalt, siis kunstis see nii ongi. Kui kuulaja tuleb sinuga kaasa, siis on interpreedi ülesanne täidetud.

(Toomas Kaldaru 2021)

https://www.ajakirimuusika.ee/single-post/toomas-kaldaru-peidetud-lavatagune-amet

Dede’s voice sounded equally juicy and warm in all registers and she was able to brightly bring out the characters of all nine songs of the cycle, mastering all the stylistic elements, which have been used in fair amounts by the composer. Although Dede’s list of opera roles is still quite short and until that moment she has rather sung soloist parts in vocal masterpieces, I got a strong feeling that I would really like to hear and see Dede on an opera stage. And in the near future, because besides the filigrane use of her voice, she has a great amount of  stage presence and acting skills, which surely does not reveal itself entirely in performing vocal masterpeces. 

Tema (st. Dede- toim.) hääl kõlas võrdselt mahlakais ja soojades tämbrites kõigis registreis ning ta suutis väga eredalt edasi anda tsükli kõigi üheksa laulu karakteri, vallates meisterlikult kõiki stiilielemente, mille kasutamisel ei ole helilooja teps mitte kitsi olnud. Ehkki Dede ooperirollide loetelu on veel suhteliselt lühike ja siiani on ta laulnud solistiosi pigem vokaalsuurvormides, tekkis “Aastaaegu” kuulates vägisi mõte, et Dedet tahaks hirmsasti kuulda ja näha ooperilaval. Ja juba lähimas tulevikus, sest peale filigraanse vokaalkäsitluse on temas ka suur annus näitlejameisterlikkust, mis vokaalsuurvormide esitamisel kindlasti täiel määral avalduma ei pääse. Sellest on aga tuline kahju!

(Kai Kiiv 2017)

https://sirp.ee/s1-artiklid/c5-muusika/sa-tulid/

In that concert one has to compliment the mezzo- soprano Tuuri Dede, who`s especially warm timbre etched indelibly in the mind; and her ability to shape an emotional, polished whole of the songs with multiple verses, which have a rather pretentious structure.

Selle kontserdi puhul peab tunnustama eriliselt sooja tämbriga meelde sööbinud metsosopran Tuuri Dedet ning tema viimistletud ja salmilaulu mõnevõrra pretensioonika vormi emotsionaalseks tervikuks kujundamist.

(Mirje Mändla 2016)

https://sirp.ee/s1-artiklid/c5-muusika/kups-kunstiteos-ja-imeline-barokipraktika/

During "Lacrimosa" and "Hostia" I lost my touch with reality: Tuuri Dede`s enchantingly beautiful mezzo voice with rich timbre shaped the themes which had the most difficult intervals with musicality that took listeners to unearthly spheres. 

„Lacrimosa“ ja „Hostia“ ajal kadus minul reaalsustaju: Tuuri Dede lummavalt kaunis, tämbririkas metsohääl kujundas keerukate intervallidega teemad musikaalsusega, mis viis kuulaja ebamaistesse sfääridesse.

(Tiiu Levald 2016. Kunstigeen ja elujanu versus ajalooratta keerdkäigud. Sirp)

https://www.sirp.ee/s1-artiklid/c5-muusika/kunstigeen-ja-elujanu-versus-ajalooratta-keerdkaigud/

Estonian culture attache in Berlin Harry Liivrand: "Tuuri Dede, who I heard on the stage for the first time, left a very good impression, both with vocal abilities and freedom on stage. Her mezzo is carrying, nuanced and colourful, presentation of the text meaningful and charming. A very successful performance in front of Berlin`s spoilt audience"

Eesti kultuuriatašee Harry Liivrand: "Tuuri Dede, keda esmakordselt laval kuulsin, jättis väga meeldiva mulje, seda nii häälevõimaluste kui ka lavalise vabaduse poolest. Tema metso on kandev, nüansseeritud ja värvirikas, teksti esitus mõtestatud ja võluv. Igati kordaläinud esitus Berliini ärahellitatud publiku ees"

(Greete Kõrvits 2016. Debüüt- Uus täht Eesti metsode seas. Sirp)

http://www.sirp.ee/s1-artiklid/c5-muusika/debuut-uus-taht-eesti-metsode-seas/