NEWS&REVIEWS
Review: “Gigil Marathon” makes a serious theme clear through humor and energy.
(Jakob Lille - Jazzkaar)
01.05.2026
Drawing attention to socially relevant issues is already a challenging task in itself. Even more difficult is speaking about them through music in a way that is collectively understood. Yet this challenge has been taken on and successfully met by the 2025 Jazz Composer of the Year laureate, Bianca Rantala. Her new work “Gigil Marathon,” created for this year’s Jazzkaar, masterfully combines themes of the dangers of media consumption and extreme emotions with an eclectic and humorous performance, making an important societal pain point both tangible and impactful.
As the excitement of the jazz awards ceremony subsided, the UMO Helsinki Jazz Orchestra kicked off the stage program with a powerful opening, welcoming Bianca Rantala to the stage. Together, they performed a piece that Rantala had dedicated to those who wish to hear a more traditional big band program. They were then joined by Valter Soosalu on harpejji. In addition to the joint performance, Soosalu paid tribute to Jaco Pastorius by performing his 1976 piece Portrait of Tracy. Through these pieces and humorous spoken interludes, the audience was drawn in and prepared for the performance that followed.
“Gigil Marathon” is inspired by the Filipino expression “gigil,” which describes the overwhelming urge to physically express intense emotions, often through slightly aggressive actions such as squeezing something. Through this concept, Rantala’s thoughts moved toward the experience of strong emotions and eventually to the effects of social media use. The aim of the work became to capture the range of extreme emotions that social media posts can evoke in a person, while also addressing the broader influence of media.
The piece developed into a six-movement work, with sections exploring gigil itself, TikTok-induced sadness, nostalgia, clickbait, and accessible propaganda. Each movement focuses on a different phenomenon, linking socially relevant themes of media influence with emotion and music in its own way. Due to the shifting themes, the work was stylistically diverse and full of energy. A remarkable achievement is that this is the first known work in the world to combine a big band with a solo harpejji.
The performance itself helped make the serious themes more digestible. Rantala’s speeches between pieces were infused with humor that resonated with the audience and brought the complex, nuanced topics closer to them. Valter Soosalu also contributed with brief remarks, cleverly inserting jokes. The musical numbers were energetic, engaging the audience through unexpected turns, rapid riffs, and inventive vocal arrangements.
The fact that a single performance could encompass funk, jazz, metal, and more only made the experience more exciting. In the vocal sections, performers sang motivational phrases originating from TikTok, played guessing games where the audience had to determine whether a passage was generated by artificial intelligence, and included screams inspired by screamo music. The musicians certainly did not make things easy for themselves. Bianca Rantala took on the roles of conductor, singer, and host during the performance—and is also the composer of all the pieces.
All these complex elements ultimately came together successfully. Throughout the concert, there was a palpable sense of excitement and engagement among the audience, and at the end of “Gigil Marathon,” the entire audience rose to their feet in applause. It was a true joy to witness Estonian jazz music and its audience!
Loe siit: https://jazzkaar.ee/gigil-marathon-teeb-tosise-teema-huumori-ja-energiaga-selgeks/
Review: April Jazz
(Janne Tarmio - Jazzrytmit)
25.04.2026
Celebrating a milestone anniversary this year, the April Jazz Festival has this spring offered an almost inexhaustible abundance of programming.
At the Tapiola Cultural Centre on Friday, audiences were treated to two very different experiences - early in the evening, the Tapiola Hall hosted the UMO Helsinki Jazz Orchestra.
What made the UMO concert special was that Bianca Rantala made her debut as conductor. She will begin as the orchestra’s resident composer in the leadership trio this autumn, and for this occasion she had invited soloist Valter Soosalu from her neighboring country, Estonia. Rantala also had the opportunity to showcase her abilities as a vocalist.
The main focus of the concert was Rantala’s six-part work “Gigil Marathon,” in which she paints with a broad palette both rhythmically and harmonically. The harpejji, chosen as the solo instrument, adds its own distinctive flavor with its multifaceted sound—at times resembling a keyboard, at times an electric guitar, and sometimes something in between. In Soosalu’s hands, the still relatively rarely heard harpejji proved its place impressively, both as an orchestral and solo instrument. To the best of current knowledge, it has not previously been used as a solo instrument in a big band setting.
Rantala’s versatility was also evident in her use of her own voice. She sang, delivered speech-like recitation, and painted with her voice in a style somewhat reminiscent of Kadi Vija. There is a clear sense of courage in her expression and a willingness to test her own boundaries—qualities that promise much for the future.
In this work, Rantala clearly relies on a strongly articulated programmatic concept. It deals with life in today’s fast-paced information society and under the constant barrage of social media: what it does to a person, and what kinds of emotions it evokes.
The emotions ranged from sadness to anger, with the musical atmosphere shifting accordingly. At times the music moved in cinematic landscapes, at others it evoked the worlds of musical theatre and cabaret. In the final number, the chains were decisively broken. The piece ended in a powerful, funk-driven climax, with Jouni Järvelä and Severi Sorjonen taking extensive solos.
With her captivating temperament alone, Rantala brings a fresh new energy to the orchestra. When Ville Vannemaa joins as chief conductor and Michael Mayo as principal guest this autumn, UMO’s audiences can look forward to exciting times filled with a wide range of refreshing projects.
Lue lisää: https://www.jazzrytmit.fi/s16-festivaalit/c51-festarit/april-jazzin-perjantai-debyytti-ja-paluu/
Review: Bianca Rantala & Valter Soosalu & UMO Helsinki Jazz Orchestra
(Jazzpossu)
27.04.26
The UMO Helsinki Jazz Orchestra continues celebrating its 50th anniversary this spring. At the April Jazz Festival concert on Friday, Estonian-Finnish singer/composer/conductor Bianca Rantala made her debut as a conductor with UMO. She will serve as the orchestra’s resident composer for the 2026–2027 season and was also responsible for the compositions performed at this concert.
It was clear that the overall concept aimed to bring a more youthful approach to UMO. A certain funk and fusion angle could already be anticipated from the lineup—representing a younger generation of musicians were guitarist and bassist Johannes Granroth and drummer Severi Sorjonen. And indeed, once the evening moved beyond a more traditional big band opening and the soloist entered the stage for the premiere, this direction became evident.
What made this concert particularly unique was that Soosalu played the harpejji, a relatively new instrument that almost requires its own introduction.
The harpejji is an electric string instrument with multiple strings—Soosalu appears to play a 24-string version—played by pressing a fretboard similar to a guitar. Although the technique differs, Soosalu humorously noted that both Estonians and Finns tend to react by assuming it must be some kind of kantele. In terms of playing technique and overall feel, the harpejji exists somewhere between a pedal steel guitar and a Chapman Stick. As Soosalu quickly demonstrated, it is highly suited for virtuosic playing. One might call it a “Jacob Collier-type instrument,” appealing to those who genuinely enjoy the tapping style of Stanley Jordan.
With a humorous tone in his spoken introductions, Soosalu demonstrated the instrument’s fusion potential with a stylish version of Jaco Pastorius’ harmonic classic Portrait of Tracy. After that, it was time to move on to Rantala’s six-part work “Gigil Marathon,” which was also rich in humor.
The theme of the piece revolves around emotions caused by social media and the methods used to provoke those emotions. It explores cuteness that triggers the urge to squeeze or crush something (referenced by the Tagalog word “gigil” in the title), sadness, clickbait, nostalgia, TikTok dances, inspirational clichés, and propaganda. As one might expect, these themes were often treated with a twinkle in the eye, allowing both UMO and the soloist to explore a wide range of musical possibilities.
While the music moved somewhat away from the core of traditional jazz, the contributions of Granroth and Sorjonen were central, and the concert also featured excellent solos from UMO musicians. Among them, saxophonists Sami Leponiemi and Jouni Järvelä, as well as trumpeter Kalevi Louhivuori, stood out.
Rantala is not only a composer but also a skilled vocalist. In addition to a few more traditional vocal sections, “Gigil Marathon” included playful speech-like singing at times, reminiscent of the “harmonizer meme” style where chords are applied to spoken phrases.
Lue lisää: https://jazzpossu.fi/2026/04/25/bianca-rantala-valter-soosalu-umo-helsinki-jazz-orchestra/
Interview: Bianca Rantala: a musician must take responsibility for the message they share
(OP/ERR)
25.04.26
Estonian-Finnish jazz artist and Jazz Composer of the Year Bianca Rantala said in the program “OP” that she maintains her mental well-being by visiting museums, and that her dream of studying in a jazz orchestra composition residency in Helsinki has come true. According to Rantala, a musician influences others by sharing their message, and therefore must take responsibility for everything they do.
Bianca Rantala is an Estonian-Finnish jazz artist and Jazz Composer of the Year. Her new work “Gigil Marathon” will be performed at this year’s Jazzkaar.
Rantala studies at the Sibelius Academy in Finland. “This place has become very much like home to me,” she noted.
“I take care of my mental health by having a museum card, and whenever possible, I’ll drop into a museum even just for half an hour,” she said.
Although her surname is Finnish, she describes herself as a true Võro. “My mother is Estonian, from Tallinn, and my father is Finnish. I’m very happy that I was able to study at the music schools in Põlva, Võru, and Räpina, and learn different subjects. Classical piano was my first focus, then I moved to singing, and somehow orchestration and arranging followed. After 9th grade, I moved to Tallinn and went to study at the Ots School. In my first year, I studied classical composition. I’m very grateful for that now, but at the time my heart was more drawn toward rhythm music and piano.”
“In my opinion, there is no such thing as apolitical art. All art is political in the sense that when you spread your message—or whatever you do—you influence others. Everything you say, you are responsible for and must stand behind,” Rantala stated. “Jazz is protest music; it has always been about fighting for freedom.”
According to Rantala, Estonians could feel very much at home in the jazz world, because historically music has been a tool for preserving culture, identity, and spirit, as well as for fighting for what people believe in.
In Helsinki, Rantala is part of a jazz orchestra composition residency. “That has been one of my life’s dreams,” she said.
At Jazzkaar, Rantala will present a very special concert. Her new work “Gigil Marathon” has been written specifically for the UMO Helsinki Jazz Orchestra and harpejji virtuoso Valter Soosalu.
“Valter and I have had a kind of musical common-law marriage. We’ve taken on different roles—he has been the conductor while I composed, and now I’m the conductor and he is the soloist,” Rantala said.
The title “Gigil Marathon” refers to the word gigil, which describes an overload of cuteness. “The feeling of cuteness is so strong that it creates aggression. The idea of the program is to make people think about how, in today’s society, social media imposes uncontrollable emotions on us,” the composer explained.
Loe siit: https://kultuur.err.ee/1610006485/bianca-rantala-muusik-peab-enda-levitatava-sonumi-eest-vastutama
Interview: “Disciplined Chaos”: jazz musician Bianca Rantala is in constant motion
03.05.2026
It’s strange how some compositions can instantly dissolve any sense of the composer’s age. You listen and simply don’t think about the fact that the author is only 27. That’s the case, for example, with Bianca Rantala.
There is something in Bianca’s music that doesn’t sound typical of youth—there are layers, tensions, and restlessness, yet at the same time a kind of inner certainty. It gives the impression that all of it has been lived through over a much longer period of time.
Maturity isn’t necessarily a good thing
Perhaps that’s why people often speak of “maturity” in Bianca’s case. But it’s not a word she feels particularly comfortable with. Quite the opposite—she seems cautious about it, even somewhat skeptical.
For her, maturity does not necessarily mean something good or desirable. It can also mean that risks have been minimized, everything is safe and predictable—that you’ve reached a place where you no longer dare to make mistakes. And that is certainly not a place she wants her art to arrive at.
“I’ve been given the opportunity to try a lot and to fail a lot,” she says, as if speaking about something completely natural rather than something to hide.
Perhaps that is the foundation of Bianca’s music. Not maturity in the traditional sense, but experience—the fact that she was able to start early, experiment, fail, and begin again. Already at the age of 12, she formed her first choir. Since then, there have been years in which a talented creative mind has simply been in constant motion.
At the same time, this does not mean that failure is easy for her. On the contrary. She admits that the older she gets, the harder it becomes to deal with mistakes. This awareness has also brought a different working method—the desire to think everything through, to anticipate all possibilities, to minimize all risks. As if trying to control something that ultimately cannot be controlled. And at some point comes the realization—you can’t. And maybe you don’t have to. From here, something else in her creative work slowly begins to change. If at first there is a strong need to hold everything tightly, over time comes the ability to let go. To trust. To allow others in.
“It’s like the opportunity to borrow someone else’s brain.”
Jazz naturally provides space for this. For Bianca, improvisation is not just a technical element, but something much deeper—a willingness to let something emerge beyond her own control. “It’s like the opportunity to borrow someone else’s brain,” she says with a laugh. This means that the music is no longer only hers. It is created together with others: through their experience, their perception, and their lives. And there is something liberating in that.
It was precisely this mindset she brought to the stage at this year’s Jazzkaar, where her work was performed—not as something fixed and closed, but as a living process. It is a place where structured control and freedom reach toward one another.
“Disciplined Chaos”: jazz musician Bianca Rantala is in constant motion
Bianca sometimes describes herself as “disciplined chaos.” It sounds like a paradox, but in her case it fits quite precisely. She operates in multiple roles at once: composer, singer, conductor, arranger. But when asked who she really is, her answer is simple: “I am a working musician.”
The term suits her better—there are no boundaries, no obligation to choose a single path. There is movement, experimentation, and the freedom to do what feels meaningful at any given moment.
Still, this constant motion is not always easy. She speaks openly about having ADHD. This means her thoughts don’t stay still, focus shifts quickly, and often everything feels important at once.
“My brain doesn’t really distinguish what’s important and what’s not. Everything feels important.”
This can generate enormous energy, but it can also be exhausting. And over time, it has become clear that it’s simply not possible to do everything. The body sets limits. Working around the clock is no longer an option. That forces choices. And perhaps that is one form of maturity—not safety and predictability, but the ability to decide where to direct your energy and what to let go.
Brightness and anxiety
Listening to Bianca’s music, there is often something very bright and at the same time something anxious. These two do not exclude one another; rather, they coexist. For her, art is never just about creating beauty. There has to be something more.
“For me, art always carries a message,” she says, adding that an artist has a certain responsibility—similar to that of a politician. This doesn’t mean moralizing, but awareness. When you step in front of an audience, you influence listeners whether you intend to or not.
And the world we live in now is full of anxiety: wars, information overload, constant speed, fractured attention.
She speaks about emotional overload, dopamine, and how we become accustomed to constant stimulation—how each new experience must be more intense just to feel something at all. And how this affects our ability to focus, to immerse ourselves, to truly be present.
Her music does not try to fix this world or offer simple answers. Rather, it reflects it. It shows what it feels like.
But at the same time, there is always a certain brightness—something that prevents everything from completely collapsing.
Multilayered identity
Bianca’s life moves between several countries: Estonia, Finland, Germany. This might seem fragmented, but for her it is more of an opportunity. Different environments, ways of thinking, understandings of music. Jazz is not the same everywhere—each place gives it its own meaning. And that enriches her work.
She is also deeply aware of jazz’s roots in African American culture, while recognizing how the music has evolved and expanded over time. This multilayered quality is clearly present in her own work: different influences and aesthetics that do not merge into one, but coexist side by side.
Moving through the music world as a woman has not been a completely neutral experience. She acknowledges having had to prove herself due to both her age and her gender—and sometimes simply based on her appearance.
“People make a lot of assumptions based on how you look.”
At the same time, in recent years she has felt that this pressure has lessened. She no longer has to prove herself as much and can focus on what truly matters—the work itself.
And perhaps most importantly is how she relates to music. It is not a refuge for her.
“I don’t make music to escape. I make it to understand what is happening in the world.”
If she truly wants to switch off, she looks for something else. Music makes her think—and she wants it to do the same for the listener.
Can music change anything?
Bianca believes it can. But not necessarily in grand, immediate ways—rather through small shifts.
“If music can pull someone out of their bubble even for a moment, that’s enough.”
It may not sound grand, but perhaps that’s exactly why it feels honest. Not to offer ready-made answers, but to leave space for questions. Not to tell people how to think, but to make them pause for a moment.
And perhaps that is where Bianca’s creative power truly lies.
Interview: A marathon of fear, joy, anger, and sadness
(Sirp - Marje Ingel)
24.04.26
Composer, conductor, and singer Bianca Rantala was recently selected as the resident composer of the UMO Helsinki Jazz Orchestra for the 2026/2027 season. At the upcoming Jazzkaar festival, UMO will perform Rantala’s work “Gigil Marathon,” featuring Valter Soosalu as the harpejji soloist. In an interview given at the end of March, Rantala opens up about the background of her work and her collaboration with UMO, and reflects on cultural differences between Finland and Germany.
I heard that you are currently studying in two places at once. What exactly are you studying, and what does this new program in Frankfurt involve?
Yes, I’m studying composition in the jazz department of the Sibelius Academy’s master’s program, and also in a relatively new big band master’s program in Frankfurt, which was established only a few years ago.
At the Frankfurt University of Music and Performing Arts, the classical department has long had the IEMA CoMP master’s program (International Ensemble Modern Academy – Contemporary Music Performance), which attracts students from all over the world and offers collaboration with a professional ensemble. Now they’ve created a similar program on the jazz side, connected to the hr-Bigband.
The program admits instrumentalists, conductors, and composers. I went there focusing on composition, and it has been incredibly inspiring. Every week there are long big band rehearsals where you can test your ideas. You get direct feedback, which you often don’t receive in professional orchestras, because when you’re working there, no one comes to tell your employer how to improve things. In Frankfurt, there’s a really great opportunity to experiment, receive feedback, and take part in concerts and recordings with a professional orchestra. I’m extremely happy I went—it feels like the perfect combination of two completely different schools and methods.
You probably have the opportunity to compare big band cultures in Finland and Germany. How do they differ?
It’s very interesting to observe the differences. The German system can be quite bureaucratic—for example, if you accidentally use informal language instead of formal, the reaction might be, “How could they dare to do that?” But at the same time, the atmosphere is very relaxed: in the radio building there are cigarette vending machines everywhere, and the orchestra even has beer fridges—things that would be completely forbidden in similar institutions in Finland.
Since smoking is so common, there are cigarette vending machines in the radio building and near universities: you put in a euro and get a pack. In Finland, hardly anyone smokes but coffee breaks are sacred and even counted as working time.
Because Germany has some of the world’s top big bands, there’s also a certain confidence—not quite arrogance, but an awareness that if you’re in such an orchestra, you’re part of something world-class. There’s less sugarcoating: when student works are played, feedback can be quite direct, but still supportive.
You were recently chosen as UMO’s resident composer and will soon perform with them for Estonian audiences. What makes this orchestra special?
What makes UMO special is its mission and message: UMO stands for “Uuden Musiikin Orkesteri” (Orchestra of New Music). Throughout its 50-year history, UMO has always been at the forefront, taking risks before others followed. For example, one of the most renowned living big band composers today, Maria Schneider, was first invited to Europe by UMO.
Now that I’ve gotten to know German orchestras, I’ve noticed that financial considerations often play a bigger role there—what sells matters a bit more. UMO’s mission, however, is to develop jazz and the big band genre in Finland itself, which requires courage.
The programming is what makes UMO unique—it ranges widely in style. The orchestra tours across Finland, even in small towns, inspiring audiences everywhere. The ensemble consists of some of the best musicians in Finland, many of whom are also internationally recognized.
UMO has recently changed its leadership structure. Instead of one artistic director, there is now a team including a managing director, producers, and from next year a trio of artistic leaders: a chief conductor, principal artist, and principal composer—which will be my role.
I think it’s a bold and exciting decision. Instead of one person holding all authority, it reflects the importance of collaboration. As the saying goes, two heads are better than one, three is even better.
You mentioned UMO’s sense of mission. Does that also drive your own composing?
Yes, I like to write music with a message. It’s important for me to have a standpoint or principle. Music can of course be entertaining, but I aim to create art that, if it doesn’t speak directly, at least raises questions.
Whether you’re a politician, an artist, or a composer—if you present something to an audience, you carry responsibility. People often say art isn’t political, but in a broader sense, it always is: if it reaches an audience, it inevitably has an impact.
Let’s talk about your piece “Gigil Marathon.” What is it about?
“Gigil” is a Tagalog word describing something so cute that you feel the urge to squeeze it. I’m fascinated by how an emotion can become so intense that something positive turns negative when taken to excess.
For me, gigil represents dopamine addiction and emotional overload coming from all directions. The emotional palette becomes narrower, the colors more intense and polarized, and the deeper reasons behind feelings become harder to access. As a result, people lose the ability to see the bigger picture.
This leads to a generation experiencing intense emotions—especially anger—without being able to process them, which contributes to social polarization: people react without thinking.
So is it like an addiction to drama?
I wouldn’t call it “drama addiction,” but it is a form of addiction. Almost everyone exposed to digital media is affected. Social media uses tools like anger, sadness, and cuteness to manipulate attention. It constantly demands emotional reactions.
The body doesn’t distinguish between positive and negative stress. That’s why I chose the word “gigil”—even though cuteness is positive, its excess creates stress just like anger does.
Recently, there’s been more discussion about mental health, which is very important. Social media creates the illusion of connection, but ultimately people are alone. It’s essential to develop emotional intelligence—to be able to exist in a neutral state. That’s the only way to live a stable life, yet our environment constantly pushes emotional overload.
Our Jazzkaar program is not a single piece but a series of works reflecting these different emotions. Through irony and exaggeration, we aim to create emotional overload in a positive way—to make people aware of what they feel. We try to evoke joy, anger, sadness… (laughs)
You’ll be sharing responsibility for UMO’s next season with Michael Mayo. What emotions did that news bring up?
Of course I’m nervous, but I’ve heard he’s a great person, so I trust the decision. We were chosen specifically to work together, so hopefully our approaches will complement each other.
Has that initial fear eased over time?
Right now, fear is actually my strongest everyday emotion. My days are filled with the fear of failure (laughs).
About six months ago, there was a turning point in my career, and suddenly I’ve had a lot of orchestral projects. March has probably been the busiest time of my life—working 12 to 20 hours almost every day. I recently had to submit a 20-minute commissioned work for UMO and ten other pieces by the end of the month.
I’m incredibly grateful, but there’s always a small fear in the background. I just try to get through one day at a time. Good things and difficult things seem to come all at once. My only goal right now is that when I close my laptop on April 1st, I still have my sanity.
This profession isn’t a marathon—it’s a hundred sprints in a row!
Loe siit: https://www.sirp.ee/hirmu-roomu-viha-ja-kurbuse-maraton/
Bianca Rantala selected as resident composer of Finland’s UMO Jazz Orchestra
19.01.26
Composer, vocalist, and conductor Bianca Rantala has been selected as the resident composer of the UMO Helsinki Jazz Orchestra.
Rantala’s residency will run from autumn 2026 to spring 2027. During this period, she will compose new commissioned works for the orchestra, which will be performed throughout the season in UMO’s concert programs. She will also take part in the orchestra’s artistic curation in the role of composer.
The UMO Helsinki Jazz Orchestra is Finland’s only professional jazz orchestra and one of the few full-time big bands in Europe, performing approximately 80 concerts annually in Finland and abroad.
Rantala will be part of UMO’s renewed artistic leadership trio alongside chief conductor, saxophonist, and conductor Ville Vannemaa, and resident artist, American singer and composer Michael Mayo.
Bianca Rantala is an award-winning Estonian-Finnish composer, conductor, and vocalist who has written works and hundreds of arrangements for a wide range of ensembles, from choirs to symphony orchestras, and has performed as a bandleader and singer both in Estonia and internationally.
Rantala was awarded the title of Jazz Composer of the Year 2025 at the Estonian Jazz Awards and has also won, among others, the Nordic Composer Contest and the Baltic Big Band Composition Competition.
Loe siit: https://kultuur.err.ee/1609914868/bianca-rantala-valiti-soome-jazz-orkestri-umo-residentheliloojaks
Interview: Bianca Rantala: I’m drawn to “multi-role” situations where you can observe from several perspectives at once
11.02.2024
Jazz Composer of the Year 2025, Bianca Rantala, will perform at the Estonian Jazz Awards on April 30 with her new work “Gigil Marathon,” written specifically for the UMO Helsinki Jazz Orchestra and harpejji virtuoso Valter Soosalu. Rantala has been creating new sounds for years—searching, experimenting, boldly moving between genres, and shaping her ideas into cohesive wholes through orchestration. In an interview with Kertu Kärki, Bianca speaks about her feelings regarding recent recognitions, describes her creative process, and offers insight into what audiences can expect from her Jazzkaar concert.
Last year at Jazzkaar you were awarded Jazz Composer of the Year. What was your first thought upon hearing the news? Did anything change in your life?
My first reaction was honestly shock—and a slight panic about what I should say to express my deep gratitude. It left me speechless. “Composer” has always felt like such a big, weighty word to me—something that belongs to the most important figures. But when I think about it calmly, I really have been creating new music consistently, especially in jazz. I’ve had the privilege to do that. So I guess… I am a composer too.
The main change wasn’t external, but internal. As a relatively young person—and as a woman—I’ve often felt the need to prove that my work is serious, that I’m not “just a singer” (not that there’s anything wrong with that—I gladly am that too!). This recognition brought a certain inner peace: the ability to focus on writing without first having to prove my competence. It also gives a sense of trust—that you won’t be forgotten even if you’re not constantly visible.
What has been most surprising is when someone calls me a role model. That still feels a bit surreal, because internally I feel the opposite—that I’m still on the way, sometimes quite lost. But maybe that’s natural—and even a source of inspiration: constant searching and growing. Hopefully I’ll feel the same even fifty years from now.
In addition to that title, you were recently selected as UMO’s resident composer for the 2026/2027 season. What does that mean to you?
It confirms that I’m on the right path. For years, this work has come from an internal need—writing hasn’t been a strategic career move, but a natural way of making sense of the world. This kind of recognition validates all the invisible work and effort behind it.
The big band world is quite niche, and the role of resident composer is one of the most exciting positions within it. It’s not just about writing pieces—it’s about dialogue with the orchestra, shaping repertoire, and developing a longer-term artistic vision. I’m especially grateful that my first “home orchestra” is UMO, which I’ve admired for as long as I can remember, and that my collaborators are Ville Vannemaa and Michael Mayo, who are among the most inspiring musicians I know.
The long-term impact on my career will probably become visible in a few years. Right now, the main challenge is practical: how to organize life and creative work across three countries—Estonia, Finland, and Germany. There are plenty of ideas and music, but building structure and a functioning team is an art in itself, and something I’m still quite inexperienced in.
One unexpectedly positive aspect is that people now feel more comfortable approaching me—starting conversations in person. I’m naturally quite reserved and sometimes even a bit afraid of strangers, so it’s a meaningful gift that conversations now begin from the other side.
You’ve been described as a bold, emotionally charged composer who moves between genres. How would you describe your musical language?
It’s always difficult to define your own musical language, because what feels natural isn’t usually fully conscious. But one truth remains: no matter how deliberately I try to do something new, my personal voice always emerges somehow.
Over time, I’ve started asking “why?” more often. Music is no longer just impulse—it has become a more thought-out arc. I feel I’ve moved toward more programmatic music—works that are based on themes or phenomena, not just musical ideas.
My songwriter self has a clearer identity than my composer self—and that always finds its way in. Songwriting is intuitive, guided by an inner compass, almost like a reflection of background and childhood. Composition, on the other hand, is about managing a whole: filtering intuition through a conscious framework. And it has to be conscious, because orchestration plays a huge role—it’s a tool that shapes the entire sound.
Because of that, compositional language evolves faster—we learn new tools, new arranging techniques. I’ve experienced this recently working with contemporary music in France and more traditional jazz in Germany.
By contrast, the songwriter within changes more slowly, shaped by deeper influences and life experience. I still feel like a melody-driven person who values subtle tensions—no matter how much I sometimes try to hide it.
What inspired your new work “Gigil Marathon”? What kind of journey does it offer the audience?
“Gigil Marathon” is a series of works rather than a single large form. It is based on the Tagalog word gigil, which describes an intense, almost aggressive urge caused by overwhelming cuteness—the desire to squeeze something.
I was fascinated by the absurdity of it: how something positive can turn into an uncontrollable impulse.
From there, I moved to the idea of dopamine addiction and emotional overload. Social media constantly produces involuntary emotions—every few seconds, a new clip, a new stimulus. We enter a loop where we need stronger and stronger experiences just to feel something. The emotional palette narrows, contrasts intensify.
The body doesn’t distinguish between positive and negative stress—and so even something cute can become aggression.
With this program, we aim to create intense emotions through humor and irony. It’s not moralizing criticism, but a reflection. That’s why I call it a series: instead of one large arc, it consists of several hectic miniatures—a musical parallel to fragmented modern attention.
We want to evoke strong feelings—or at least convincingly imitate them—and encourage reflection: how have we arrived at a society that promotes constant emotional overload, and where is it leading?
The harpejji is quite an unusual instrument. Is it difficult to write for it?
It’s not easy—mainly because I’m not experienced with it, as with any new instrument. But Valter’s openness and practical advice have made it possible. As always, it starts with understanding the instrument—its strengths and weaknesses.
I’m very excited about this project—it’s the first of its kind—and about learning a new instrument. Valter is an incredible player and has truly developed his own sound with it.
I don’t try to merge the harpejji and the jazz orchestra into one unified organism. I treat them as two separate entities with their own identities. Only when both function fully on their own can their meeting create something new—a shared, living whole.
How much room do you leave for interpretation and improvisation?
Much more than ten years ago. With knowledge and experience comes trust—both in musicians and in the process. And the ability to imagine things I couldn’t create alone.
One of the most important things is learning when to let go of ego—to accept that someone who has decades of experience with their instrument probably knows more about it than I do.
At the same time, I aim to prepare as precisely as possible, giving musicians both structure and freedom in the right places. Writing for people I know well is a gift—you can “borrow” their way of thinking and sound imagination.
In jazz, that’s one of the most fascinating aspects: a soloist can be both a structured element and completely unpredictable.
You work as a composer, singer, pianist, and conductor. How do these roles interact?
As a composer, I shape the overall sound. As a singer, I’ll also perform in this concert, which is practical—I can test ideas immediately.
My piano background has helped when writing for the harpejji. Valter gave me a great starting point: imagine writing for a piano without a pedal.
As a conductor, I feel like a parent whose child has moved out. Most of the work happens in rehearsals—shaping the whole, the balance. Occasionally, you step in—offer guidance or support.
Before a concert, it’s about listening to the bigger picture and making sure everyone connects and communicates. Sometimes you maintain the pulse if needed; other times, you simply support—or sing.
I enjoy these “multi-role” situations where you can see things from several perspectives at once.
Loe siit: https://edasi.org/270393/jazzkaare-fookuses-bianca-rantala-mulle-meeldivad-huntkriimsilm-rollid-kus-saab-olukorda-vaadata-eri-vaatenurkadest-korraga/
Intervjuu ajalehes "Eesti Päevaleht" - Helilooja Bianca Rantala: kui mingi asi võtab enda kütkesse, siis keskendun sellele täielikult
18.04.2024
Helilooja ja dirigent Bianca Rantala (25) mõtleb suurelt ja suurtest koosseisudest. Ka 35. Jazzkaare festival avatakse suure muusikapeoga ja Rantala uudisteosega „Moral Paradox“. Eelmise aasta Eesti džässiauhindade rahvahääletusel valiti Rantala populaarseimaks džässiheliloojaks. Ta on pälvinud mitu auhinda ja tunnustust, näiteks 2020. aastal võitis ta Baltimaade heliloomingu konkursi bigbändidele, aastal 2021 valiti ta Saksamaal Kölnis „European Composersi“ programmi heliloojaks, aasta hiljem võitis ta Põhjamaade heliloomingu konkursi „Nordic Composer Contest“. Rantala on ka selleaastastel džässiauhindadel aasta džässihelilooja ja noore džässitalendi nominent. Loe lähemalt: https://epl.delfi.ee/artikkel/120286203/helilooja-bianca-rantala-kui-mingi-asi-votab-enda-kutkesse-siis-keskendun-sellele-taielikult
Arvustus: Bianca Rantala jalustrabav avalöök Jazzkaare juubelipidustustele
22.04.2024
Pidulikud avasõnad lausutud, juubeliõnnitlused üle antud ja alata võib Biancaversum – lavale astuvad solistid Bianca Rantala ja Jukka Eskola, dirigent Valter Soosalu ning keelpilliorkester, vokaalsekstett ja üheksaliikmeline instrumentaalansambel. Kõigest 25-aastane multitalent Bianca Rantala on siinsel ja piiritagusel jazziskeenel pälvinud juba laialdast tähelepanu. Kui ühes loos küsib Rantala, millest on loodud inimene, mõtisklen ise endamisi, kananahk ihul, millest küll pärineb tema looming, kust tuleb nii palju head muusikat? Kõik need põnevad helikooslused, talle omane vana ja uut bigbändi muusikat filigraanselt ühendav helikeel ning kummitama jäävad meloodiad?
Samas aimasin lugude sissejuhatusi kuulates, et inspiratsioon võib tabada kui välk selgest taevast. Näiteks pala „Angels’ Share“ sai pealkirja tänu Edinburghis viskituuril Rantalale romantilisi lähenemiskatseid teinud mehele. Teadupärast aurustub viski küpsemisprotsessis teatav osa joogist, mida kutsutakse maakeeli „inglite osaks“. Nii üritaski mees noore naise ingellikkusele viidates ta südant võita ja muutus ootamatult muusikule inspiratsiooniallikaks.
Kontserdi edenedes võisin tõdeda, et Rantala ei ole mitte ahhetamapanevalt andekas helilooja, vaid ka kriminaalselt hea laulja. Muusikute valik ei oleks saanud parem olla – nende kokkukõla ja sünergia dirigent Valter Soosalu juhatamisel oli nii sundimatult nauditav. Tekkis palju põnevaid helikooslusi, näiteks puhkpillid tõid hästi esile õrnemate keelpillide sillerdav-särisevat kõla.
Autor - Kristiina Malm-Olesk
Loe lähemalt: https://www.jazzkaar.ee/bianca-rantala-jalustrabav-avalook-jazzkaare-juubelipidustustele/
Galerii: Jazzkaare avas Bianca Rantala uudisteose "Moral Paradox" esmaettekanne
22.04.2024
Pühapäeval avati Tallinnas JAIK-is 35. korda toimuv muusikafestival Jazzkaar. Avakontserdil kõlas helilooja Bianca Rantala uudisteos "Moral Paradox".
Uudisteost esitasid solistid Bianca Rantala ja Jukka Eskola, dirigent Valter Soosalu ning keelpilliorkester, vokaalsekstett ja üheksaliikmeline instrumentaalansambel.
"Dilemmad pole kunagi olnud nii aktuaalsed kui praegu, mil maailmas jätkuvad sõjad ja samal ajal toimub plahvatuslik AI areng. Tihtipeale selgub moraalsete valikute tulemus alles aastaid hiljem, nagu mõjutavad ju varasemate sõdade traumad meie elusid siiani igapäevaselt – meie vanemate valikuid, meie otsuseid, meie hirme. Loodan, et see muusikaline kogemus nihutab kuulajate arusaamu valest ja õigest," sõnas teose autor.
Vaata lähemalt: https://kultuur.err.ee/1609320690/galerii-jazzkaare-avas-bianca-rantala-uudisteose-moral-paradox-esmaettekanne
Metropolian musiikin opiskelija Bianca Rantala Pohjoismaiden big band -sävellyskilpailun voittajaksi
18.11.2023
Metropolia Ammattikorkeakoulun musiikin tekemisen ja tuottamisen pääaineen opiskelija Bianca Rantala on voittanut pohjoismaisen big band -sävellyskilpailun, joka huipentui finaaliin 3.11.2023 Tanskan Odensessa. Rantala kertoo korkeatasoisen kilpailun voiton tulleen hänelle yllätyksenä.
”Lensin finaaliin Tanskaan ilman odotuksia, koska tiesin, että Pohjoismaissa on korkea taso ja paljon hienoja säveltäjiä. Olin mukana ainoana suomalaisena ja jo pelkästään pääsy niin hienojen muusikoiden keskuuteen oli suuri kunnia. Minua jännitti kovasti, koska biisini on todella haastava. Odense Jazz Orchestran rumpali sanoikin minulle kaksi tuntia ennen kilpailua pelonsäihke silmissään, että huhuh, onpa sulla vaikea biisi”, muistelee Rantala hymyillen.
Lue lisää: https://www.metropolia.fi/fi/metropoliasta/ajankohtaista/uutiset/metropolian-musiikin-opiskelija-bianca-rantala-pohjoismaiden-big-band-savellyskilpailun-voittajaksi
Konserttiarvostelu: Miten tällainen yhdistelmä on edes mahdollinen? – Turku Jazz Orchestra järjesti melkein sanattomaksi vetävän illan
11.02.2024
Kari Salminen "Turun Sanomat":
Bianca Rantala on virolais-suomalainen nuoren polven kapellimestari, säveltäjä, sovittaja ja laulaja. Hän liikkuu melkeinpä ärsyttävän kevyesti liidellen musiikkiperinteiden välissä, kaiken täysillä omaksuen.
Hän on näitä musiikin kaikenosaajia, joka saa vaikeimmat asiat kuulostamaan valtavan helpolta ja hauskalta. Niin kuin se olisi leikkiä.
Sivusta etualalle laulajaksi siirtyi multi- instrumentalisti, virolainen Valter Soosalu, jonka laulu oli r'n'b-makeutta parhaimmillaan.
Nyt pitää kuvitella ohjelmisto, jossa Joe Zawinulin vetämä Weather Report vetää maailmanmusiikillisesti virittynyttä fuusiotaan, ja sitten Manhattan Transfer saapuu paikalle ja tulkitsee pari biisiä ennen kuin Stevie Wonder soittaa kiperiä koskettimia ja laulaa. Jaco Pastorius vierailee myös.
Kohta uiskennellaan kansanmusiikin kaihovesissä mutta niin kuin progebändi ja virtuoosit sen tekisivät. Välillä puhallinpainotteinen big band kuulostaa jousiorkesterilta.
On jopa ahdistavaa kuvata konserttia, joka oli suurta viihdettä, estradi-ihmisten järjettömän iloista taitomusiikkia suurelle kansalle, ja silti se on samalla rytmisten kokeiden ja sointivärien avantgardea.
Miten tällainen yhdistelmä on edes mahdollinen?
No, se nyt vain oli, nimittäin sekoitus kaikkea mikä tekee musiikista sekä taidetta että viihdettä. Kaikki Turku Jazz Orchestran soittajat
hymyilivät. He svengailivat koko
kollektiivikehollaan mukana. Olipa tapahtuma.
Lue lisää: https://www.ts.fi/kulttuuri/6240572
Viron televisiosta tuttu Bianca Rantala remontoi taloa Rauman Kulamaalla
"Länsi-Suomi"/Vesa-Ville Väänänen 05.02.2024
Suomalais-virolaisen säveltäjä-kapellimestari Bianca Rantalan, 25, unelma on palata sukunsa maille Raumalle.
Säveltäjä-kapellimestari Bianca Rantalan nimi ei välttämättä soita monelle kelloja. Hän on tunnetumpi Virossa, jossa hän on varttunut. Rantalan juuret ovat kuitenkin Suomessa ja Rauman Kulamaalla.
Lue lisää: https://www.satakunnankansa.fi/kulttuuri/art-2000010205264.html
Džässirahva kauaoodatud taaskohtumine publikuga
"Sirp" Ivo Heinloo
3.7.2035
"Jazzkaare ja Eesti Jazzliidu kontsert „Uued loojad, uued tuuled“ 24. V Kumu auditooriumis. New Wind Jazz Orchestra, kunstiline juht Lauri Kadalipp, dirigent Kristina Bianca Rantala, vokaalsolistid Jana Kütt, Marianne Leibur, Susanna Aleksandra Veldi ja Maria Väli. Kavas uus bigbändimuusika."
"Bigbändi juhatas kontserdil Kristina Bianca Rantala, kes alles alustab karjääri, kuid on juba paistnud silma nii arranžeerija, dirigendi kui ka heliloojana. Temas paistab olevat ambitsioonikust, oskusi ja pragmaatilisust, mis annab põhjust põnevusega jälgida, kuhu viib tee muusikas teda edasi."
Loe lähemalt: https://www.sirp.ee/dzassirahva-kauaoodatud-taaskohtumine-publikuga/
Elu24: Särav dirigent Bianca Rantala: kui hea bänd svingib, siis selle vastu ei saa mitte miski!
22.04.2024
Bianca Rantala on laulja, helilooja, dirigent ning klahvpillimängija. Noor eestlanna töötab Tallinnas, kuid õpib Helsingis jazz kompositsiooni. Ta teeb koostööd mainekate Eesti ning Soome muusikutega ning üheskoos on salvestatud mitmeid põnevaid projekte. Kaunid helid hakkasid Rantalat köitma enne kooliaega ning üle kõige naudib ta puhkpillide kaasahaaravat kõlamängu. Millest rääkis Rantala raadio Elmar hommikuprogrammis? Kuula ja loe järele!
https://elu24.postimees.ee/7463138/sarav-dirigent-bianca-rantala-kui-hea-band-svingib-siis-selle-vastu-ei-saa-mitte-miski