SHEET METAL GIRL. Helen Sjöholm began experimenting with
sounds at home in dad’s workshop.
Expressen 101212
By: GUNILLA BRODREJ
Photo: ELLINOR COLLIN
Helen Sjöholm gets Expressen Music Prize “Fiddler 2010th”
Helen Sjöholm can not be caught dashing on time. Therefore she didnt participate in games in TV. A failure in the music competition Doobidoo is enough.
– The only thing I did was scream “pass”. I’ve sung a lot of Olle Adolphson, but when his picture popped up so I couldn´t think of a single song.
When you look at Sjöholm three songs easily popping to mind: “You have to be there”, “You are my man” and “Gabriella’s Song” – Kristina´s doubt and despair, a woman’s love for his imperfect man and Gabriella’s declaration of independence is existential feminist music.
To this can Sjöholm this year put the role of poetissan in the Stockholm City Theatre´s Aniara, a CD of Billy Joel’s songs in Swedish, “A Touch of Taube” at the Gothenburg Opera, as well as being the mother of Lisa Ohlin’s film version of Simon and the oaks (in 2011).
Tin built this voice. It´s fascinating to imagine the twelve-year-old Helen in his father’s sheet metal workshop in Sundsvall where she finished cleaning round experimenting with sounds. It smells like welding flame and stainless, the ceiling height is huge and amazing acoustics.
– I enjoyed hearing what I could do, how far I could go.
Helen demonstrates some deep, raw moo and boo. It was like a discover game which excited me to continue, she says.
You were a fearless child?
– Oh, I was about to pee if I would have a solo, but the singing has always been a natural thing.
Helen Sjöholm hasn´t the classical singer’s head ring. She sings from the chest and neck. An undisguised emotional language that goes straight into the heart. A welding flame wherever she is.
– I dismissed early when my singing voice was far from my speaking voice. It felt unnatural.
You’ve had your own singing workshop without the involvement of educators?
– Elisabeth Modén, who was choir director for children and youth in Sundsvall, has been extremely important to me. She was a real singer – charismatic and beautiful in high heels and fur boa – and worked a lot with the tone and timbre formation. In addition, she gave us a very varied repertoire. Everything from “Litet bo jag sätta vill” to “Volare”.
Modén wanted to be sure that the girls would know what they’re singing about.
– She brought hair clips to those who had long pile: “You sing with the eyes and face as well, you know!”
Helen Sjöholm greatness has many components, two of them are her presence and her way of treating the language.
The first album she owned was not entirely surprising Maritza Horn broadside “Doom and gloom”
– I loved “The dying child”, the sad stories, says Sjöholm who describes herself as an acting singer. I have always carried around on some grief, although I haven´t had a difficult childhood. A damn seriously.
– She expresses when everything is to make an impression, said Benny Andersson on Sjöholm last spring in connection with concert versions of Kristina in English. We also talked about the sadness he stands for.
– Benny has a melodic storytelling that appeals to me. The music sounds not sought or difficult, but it has a melodic drama that is both hard to sing and attractants. He and pianist Martin Östergren is incredibly important for my creativity.
What is your relationship with Evan Taube, who you sang at the Gothenburg Opera in the spring?
– I haven´t done much Taube yet, but I think that there are situations and strong feelings about the texts. And he has written music in some kind of emotion. There is always something unexpected little nook in the melody. That’s also Benny´s speciality
Taube is a National Artist. And now you are; in the kitchen, at dances and in concert halls.
Helen says stop.
– Kristina was the largest and the first, but then when it was over, I had difficulty knowing what to do, where I was going. There lay the Swedish songs a little shade. Then, As in heaven was an important step.
You could call Gabriella’s song for your statement?
– No, but it has been one of the most important songs for me. It is about taking responsibility for your attitude to life. I often meet people who tell me how they got joy, consolation and strength from it. I never get tired of it.
Stefan Nilsson composed it. All these men that you interpret and match on stage!
– I have worked almost exclusively with men. I enjoy it and find it easy. But prominent figures of my roles have been women: grandmother, grandmother and mother.
We talked for over an hour. Where did your Sundsvall accent go?
– It came back the day Ruben, now three years old, was born, says Helen, suddenly with a voice with the west northern color. Then it was there. As I was spoken to when I was little. The emotional language.