Read more about the Rebecca-musical from here!

QUOTES FROM OTHER REVIEWS:

Jarkko Toivonen: Sunny Side Melodies. “Sari Ann, who has collaborated with Toivonen for a long time, will be heard as a vocal soloist on the track number four. She will perform the bolero “Volvere Alguna Vez” in Spanish. I’m writing this album review in my winter home in Spain, so this Sari Ann’s performance totally hit the mark with Toivonen’s guitar playing. Memories returned to past decades, to Finland and Jyväskylä’s Summer Jazz, where I heard Sari Ann for the first time.” Osku Rajala, Jazzrytmit, 3.12.2022

Satin Beat of Bossa CD “Jarkko Toivonen’s collaboration with his long-time playing partners, percussionist Sami Koskela and bassist Tuure Koske, is seamless. The rhythm group works perfectly. The same can be said about singer Sari Ann’s part. He is featured on four tracks and handles the vocal parts wonderfully. His voice brings shine and softness to Gentle Rain, depth and weight to fast-paced Batucada Surgiu, Petula Clark’s hit Call Me sounds inviting. Sari Ann interprets Contigo en la Distancia, or With You In The Distance, with deep longing.” Eero Kallio, Jazzrytmit, April 2020

Jättiläinen in Jyväskylä City theatre.  “Sari Ann Stolt (formerly Moilanen), the shining star who really showed her skills as a theater and singing professional. Stolt’s voice varied from light breaths to violent outburst, the range of emotions and sounds used in the interpretations was incredible” Keskisuomalainen, 18.10.2015

Concert review, Jarkko Toivonen trio with Sari Ann “The most touching adaptation of a non-Brazilian song was Cole Porter’s Love for Sale interpreted by singer Sari Ann Moilanen. Despite the sweater, my skin gave me goosebumbs.” Helsingin Sanomat, 10.8.2012

Moulin Rouge, Musiikkiteatteri Palatsi. “The owner of Moulin Rouge was Sari Ann Moilanen, with a wonderful voice, whose solos felt right down to the spinal cord.” Aamulehti, 31.8.2012

Rebecca, Helsinki City Theatre.“The story of Maxim DeWinter (Kari Arffman), his new wife (Sanna Majuri), and Mrs Danvers, the housekeeper of the Manderley estate owned by DeWinter, who eerily worships the memory of the deceased Rebecca. She is the most memorable character of both the novel and the musical. The role is played by the stunning and charismatic Sari Ann Moilanen.” Marja-Terttu Yli-Sirniö, Seura, 4 August 2008

Rebecca, Helsinki City Theatre.
“Cold shivers of strange pleasure creep down the spine when the theme of Rebecca played for the first time that night. And when it was about to play for the second time, the audience changed from leaning back to an upright position, just as people do when an airliner is about to land. And the atmosphere was just as filled with suspenseful waiting. It rang on the stage, all over the house, at the back of your head. The sense of fate became more and more dense and powerful. The music churned, the orchestra was manned by first rate musicians, Henrik Wikström waved his “dramatic baton”. What a vigorous ensemble. Sari Ann Moilanen’s sensuous voice, at times dark, at times soaring to pure heights, kept the audience silent; rarely is the concentration as unbreakable as it was then… the role of Mrs. Danvers might have been tailor-made for Sari Ann Moilanen, who can deliver fire and destruction both in her solo performances and her expressive acting.”
Länsi-Uusimaa, Kaarina Naski, 5 September 2008

Rebecca, Helsinki City Theatre.
“The battle of power between the two ladies and their splendid singing are among the best the show has to offer. The ghost of Rebecca, fluttering through the scenes, supports the mean-spirited housekeeper… The musical, of more than two and a half hour’s duration, fulfils all expectations. When the premiere’s audience poured out into the streets after the show, they were loudly singing Rebecca’s theme like a herd of elephants, leaving behind a refreshing oasis and returning to the shadows.”
JR Leskinen, Kauppalehti, 3 September 2008

Rebecca, Helsinki City Theatre
“The book’s readers and the film’s audience were probably frightened of the terrible Mrs. Danvers. The musical’s audience loved her. In the role of Danvers, Sari Ann Moilanen does an impressive job. When she shouts with all her agony and feeling: Rebecca, come back, Rebecca… the audience answers her with loud mid-scene applause, and you can hear the theme of Rebecca in your head even the next day. Moilanen’s vocal numbers constitute the most enjoyable moments of the musical… The audience will be entertained throughout the three-hour duration of the musical. The night definitely belonged to Sari Ann Moilanen!! After seeing her performance, no romantic can be afraid of Mrs. Danvers, to whom one would have gladly granted a happy ending.”
Anita Andersson, Kaupunkisanomat, 19 September 2008

Rebecca, Helsinki City Theatre.
“…I think Hitchcock and the author of Rebecca (1938), Daphne du Maurier, too, would be happy with the Mrs. Danvers of the musical: Sari Ann Moilanen sings splendidly. Moilanen’s Danvers echoes the void left by the death of Rebecca and has such seductive evil in her when she encourages the young Mrs. DeWinter to commit suicide. There is also passionate love (maybe even eroticism) in her, when she, singing, tries to bring the deceased Rebecca back to life.”
Marja Kuparinen, Kirkko ja kaupunki, 2 September 2008

Rebecca, Helsinki City Theatre.
“The housekeeper of the Manderley estate, Mrs. Danvers, wears black all over, just like the evil witches of classic fairytales. Sari Ann Moilanen superbly carries off her role as a woman who ghoulishly protects the memory of Rebecca.”
Pirjo Puukko, Hämeen Sanomat, 2 September 2008

Rebecca, Helsinki City Theatre.
“On the stage, it is always more convincing to play the bad than the good. Sari Ann Moilanen is radiant and her slightly metallic voice suits the role excellently.”
Arja-Anneli Tuominen, Kansan Uutiset, 2 September 2008

Rebecca, Helsinki City Theatre.
“This somewhat complicated lady is played with an almost eerie vocal brilliance and emotional power by the multitalented Sari Ann Moilanen, who is not only responsible for the night’s strongest vocal performance – which no small claim to make – but also surrounds herself with physically tangible charisma.”
Mats Liljeroos, Hufvudstadsbladet, 2 September 2008

Rebecca, Helsinki City Theatre.
The theme of Rebecca rises above all other songs, as it really gives you the shivers. Sari Ann Moilanen who is almost unreal in her interpretation of Mrs. Danvers. Her character is so chilling and frightening in appearance that when you add her superb voice when singing of her deceased mistress… it becomes a simply stunning and frightening performance. Harri Parikka, Eteenpäin, 11 September 2008

Rebecca, Helsinki City Theatre.
“Sari Ann Moilanen interprets the blackish, hard-boiled Danvers with chilling splendour and has stunning expression in her singing.” Eeva Kemppi, Turun Sanomat, 31 September 2008

Rebecca, Helsinki City Theatre.
“Singing grandly, Sari Ann Moilanen brings more character to the role of the straightforward housekeeper.” Matti Linnavuori, Satakunnan kansa, 30 August 2008

Rebecca, Helsinki City Theatre.
“Sari Ann Moilanen plays a chillingly splendid role in Helsinki City Theatre’s Rebecca as the devilish Mrs. Danvers. Her interpretation of the main theme of the musical is especially blood-curdling…” Ilkka Kuosmanen, Etelä-Suomen Sanomat, 30 August 2008

Rebecca, Helsinki City Theatre.
“The fateful solos, reprises and dark tones are characteristic of the sound world on the stage. These elements are at their most prominent in the theme of Rebecca performed chillingly by Sari Ann Moilanen (Mrs. Danvers), in which the raven-black housekeeper describes the deceased woman whom she worships blindly. This melody will linger in your head.” Heidi Temmes, Länsi-Savo, 30 August 2008

Thorin vasara, Turku City Theatre.
…Sari Ann, playing an Indian Princess who has been brought to serve as a slave, is the most impressive of all with her singing. Matti Lehtonen, Turun Sanomat, 25 February 2007

Thorin vasara, Turku City Theatre.
…The energy of a large ensemble has is a lot of buoyancy to it! Out of that stem the boastfulness of Seppo Ruohonen’s Ragnvald the Chief, and Vallu Lukka’s heroism that carries Sigurd. The Indian girl’s longing for home can be heard in Sari Ann’s crystal clear interpretation!” Kirsikka Moring, HS, 25 February 2007

Ain’t Misbehavin’, Kuusaasali, Kuusankoski
“…of them, Moilanen was a pleasant new acquaintance. She has a beautiful, wide-ranged and flexible voice and she is a skilled dancer.”
Kouvolan Sanomat, 18 October 2006

Review of the album “Tears In The Night”
“The whole package is held together by the composer Sarmanto’s melodies, but first and foremost, by Sari Ann’s splendid interpretations. Her voice is exceptionally beautiful to listen to. Perhaps Sarmanto got the idea from Junnu Aaltonen’s flute, the warm vibrato and feeling of which oftentimes parallel with Sari Ann’s musical hues.” Helsingin Sanomat, 4 December 2002.

Review of the album “Tears In The Night” 4.5 stars out of 5.
“Moilanen, who graduated with a degree in Music Theatre from the Finnish Theatre Academy, is a versatile and talented professional voice artist. The three decade friendship of Aina Swan Cutler and Heikki Sarmanto culminates in the softly melancholic songs performed by Sari Ann Moilanen, now in her thirties.” Me naiset, 24 October 2002.

The Jättiläinen Band in Concert, Ei kenenkään maa, Helsinki.
“Sari Moilanen and Jouni Innilä, who put their souls into their singing and performance, brought a theatrical aspect to the night, a certain sensitivity and roughness that theatrical singing definitely needs.” Helsingin Sanomat, 9 June 2000.

Release Concert of “T’an go!”.
“But the songs that actually had “hit potential” came from the field of Finnish dance hall tango. In my opinion, number one was “Sydämeni soi”, composed by Susanna Kuotola with lyrics by Saima Harmaja, but in addition “Haaveiden tango” and “Olisit luona vielä” written by Juha Leinonen had a lot of potential. These songs were performed by Sari Moilanen, a versatile vocalist, who interpreted tango with clear purity and a Finnish accent, as if it had been Katri-Helena herself.”  Keskisuomalainen, 3 December 1999.

Finnish Theatre Academy Final Performance of Sari Moilanen, Anna mun kaikki kestää. TEAK 1998.
“In two years, Sari Moilanen has developed into a versatile, wide-ranged, ever-present and precise maker of music theatre.” Review, 30 February 1998, Kaija Kangas, Teacher of Acting.

Finnish Theatre Academy Final Performance of Sari Moilanen, Anna mun kaikki kestää. TEAK 1998.
“Sari Moilanen is an extremely skilful and wide-ranged vocalist, a dancer who moves with exceptional grace and, after being freed of initial tension, also a fluent actor. She had the courage of throwing herself into the roles of three women of different ages, and with surprising agility and ease she switched from one character to another, using dance, vocal, or textual transitions. Her interpretations of songs excellently supported the emotional world of the characters and Moilanen showed her extremely versatile musical capabilities. This final performance proved her ability to win over her audience, and at best Moilanen’s on-stage charisma and temperament can be truly captivating.” Review, 31 March 1998, Eija Orpana-Martin/TEAK

Summer Jazz Festival, Jyväskylä.
“The bossa novas, arranged by Matti Laukkanen, offered a very pleasant listening experience, interpreted by Jyväskylä Chamber Orchestra with Sari Moilanen as their vocalist on Sunday in Satama.” Keskisuomalainen, 17 June 1996.

German Night in Elissa.
“-Will Sari Moilanen be here at all? asks Gerhard Kohl concerned. Yes, she will: ‘Play the guitar, play it again, my Johnny…’ Even before Mack the Knife, Sari has taken her audience; Kurt Weill and Berthold Brecht did not produce their “degenerate art” in the 20s for nothing. Then we’re off. Here comes the Gypsy Camp! ‘Only that man knows, and can never forget…’ Just like you won’t be able to forget Sari Moilanen and the Jättiläinen Band.” Keskisuomalainen, 31 May 1996.

Folk in Jazz Happening. The Jättiläinen Band.
“You can say that Jättiläinen on Saturday night was just as good as expected. The five have a secure foothold in the musical life of Jyväskylä: if you want to arrange an evening to remember, be sure to book Jättiläinen. The band does not play with virtuosity. But Lord, what atmospheres and condensed feelings Jättiläinen can create. The music oozes togetherness and joy of existence, whether it is the sensitive ditties composed for poems by Aale Tynni or the Gypsy songs that became their highlight of the night. The band has its own rare wholeness. However, such interpretations will not take flight without a stirring vocalist. In fact, Jättiläinen has two: Sari Moilanen and Ykä Mattila. Both live their music so that you can feel it.” Keskisuomalainen, 15 April 1996.

Concert by Sinfonia Finlandia Jyväskylä.
“The orchestra occupied a lot of the visual space and detracted from the drive of the group scenes, but the individual performances were all the more enchanting, for example, the superb singing of Sari Moilanen!”  Keskisuomalainen, 30 March 1996.

Club Concerts at Jyväskylän Talvi.
“Sari Moilanen is known as a competent singer. She has a beautiful voice and a radiant presence on stage. She is easy to like: Elissa was absolutely full of listeners on Monday night.” Keskisuomalainen, 3 February 1994.

Night of the Arts, Jyväskylä.
“When Jättiläinen joins the night, memories go back to the Gypsy Camp. Ykä Mattila & Co. capture their audience. Sari Moilanen sings so beautifully that people have to wipe the corners of their eyes. The song of love and death stays and lingers in the audience. There are things you can never get enough of. Ever.” Keskisuomalainen, May 1993

“Singing is a gift and an obligation to develop further.” Keskisuomalainen, 27 August 1993, Sari Ann.

The Jättiläinen Band, Jotakin jatkuvuudesta. Aale Tynni Concert.
“The night was also Sari Moilanen’s. She, as the female soloist, was undoubtedly one of the stars of the night and a carrying figure. God has given her a soft, flexible voice, which you can never get enough of. In addition, Sari Moilanen has the ability to throw herself into things, which is so vital for the songs written by Ykä and Sepa and the poetry of Aale Tynni.” Keskisuomalainen, 6 December 1993

Concert Ball, Jyväskylä.
“The evening was made by Puhkupillit with Markku Viitasaari as their conductor, the Palokka Big Band, and Albert Jatsi. The last had Sari Moilanen as their vocalist, who wasn’t known by the audience at all. But she certainly is now. Her performance had such vigour that she could climb even more demanding stages, and her voice and use of the microphone were impeccable.”  Keskisuomalainen, 1 April 1992.

Torikuningas Musical, Jyväskylä City Theatre.
“Sometimes the singing capacity in the theatre is not enough. Some people make a royal mess. Such grand performances as Sari Moilanen and Jouni Innilä’s are, unfortunately, rare exceptions.” Aamulehti, 23 September 1991.

Torikuningas Musical, Jyväskylä City Theatre.
“It was the songs that brought out the various levels of talent the actors had, although as a whole the show worked surprisingly well. The performance and expressive voice of visiting vocalist Sari Moilanen will stand out as a positive peak.”  Uusi Suomi, 23 September 1991.

The Great Concert of Jyväskylän Talvi. Featuring Paula Koivuniemi, Taneli Mäkelä, Jouni Innilä and Sari Moilanen.
“The local talents Jouni Innilä and Sari Moilanen were each allowed to perform one number. Both had better voices than the actual stars of the night. Their performances also contained a certain interpretational involvement which originates from their experience on stage and attitude gained thereof.” Keskisuomalainen, 13 February 1989

Nonsense Show, Music Theatre Education Programme, Jyväskylä.
“The greatest singing performance of the night was by Sari Moilanen. The intensity and evenness of her interpretation made you shiver.” Keskisuomalainen, 11 December 1987.

Rock Musical “Princes of Light”, Music School of Jyväskylä/Jyväskylä City Theatre.
“Sari Moilanen made the Princes of Light shine” Jyväskylän Maalaiskuntauutiset, 18 March 1987