Page 124 - Weiss, Jernej, ur. 2019. Vloga nacionalnih opernih gledališč v 20. in 21. stoletju - The Role of National Opera Houses in the 20th and 21st Centuries. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 3
P. 124
vloga nacionalnih opernih gledališč v 20. in 21. stoletju
war, the conductor Teodors Reiters re-established “Latvian opera”, involv-
ing the stage director Dmitry Abrenin from Saint Petersburg, set designer
Jānis Kuga, and choir conductor Pēteris Jozuus. The orchestra was main-
ly formed by Tukums Riflemen Regiment orchestra musicians, who per-
formed in 1917 under the baton of Reiters in Novgorod, Russia; the singers
mostly were cast from the previous Latvian troupe.
National period
Historically, after the proclamation of the independent state, both German
and Russian powers fought for the territory of Latvia, bringing in a seri-
ous military conflict and testing the military resources of the new state. Be-
sides, in 1919, from January to May, Latvia was ruled by a pro-Soviet gov-
ernment. The Germans left the theatre, therefore the “Flying Dutchman”
performed on the stage of the former German Theatre on January 23, 1919
was the first appearance of a Latvian opera troupe in the house, that later,
in December of the same year after the end of Independence War, became
the Latvian National Opera.
From that time on, the LNO was one of the most important centres
of Latvian culture (not only music). Conceptual measures in LNO policy
of that time derived from the ideals of the new, independent state. Opera
aimed to maintain classical and national opera repertoire, to create new
Latvian operas and to stimulate the cooperation between neighbouring
countries. The emphasis was put on stimulation of creation of Latvian orig-
inal operas.
There are two canonic Latvian original operas –the aforementioned
“Baniuta” by Alfrēds Kalniņš (1920) and “Fire and night” by Jānis Mediņš
(1921). These are the first Latvian original operas with permanent artistic
value – musical dramas in the Wagnerian tradition combined with Rus-
sian epic national operas emphasising the importance of choirs and scenes
of folk celebration, symphonised music and expressive leitmotifs that often
refer to Latvian folk song melodies.
“Baniuta”
The opera “Baniuta” focuses on drama of the title character Baniuta and her
ability to choose between individual happiness and vengeance claimed by
the people. Baniuta is the wife of Daumants, leader of a Baltic tribe, who is
killed by a young man of another Baltic tribe shortly after his wedding. His
122
war, the conductor Teodors Reiters re-established “Latvian opera”, involv-
ing the stage director Dmitry Abrenin from Saint Petersburg, set designer
Jānis Kuga, and choir conductor Pēteris Jozuus. The orchestra was main-
ly formed by Tukums Riflemen Regiment orchestra musicians, who per-
formed in 1917 under the baton of Reiters in Novgorod, Russia; the singers
mostly were cast from the previous Latvian troupe.
National period
Historically, after the proclamation of the independent state, both German
and Russian powers fought for the territory of Latvia, bringing in a seri-
ous military conflict and testing the military resources of the new state. Be-
sides, in 1919, from January to May, Latvia was ruled by a pro-Soviet gov-
ernment. The Germans left the theatre, therefore the “Flying Dutchman”
performed on the stage of the former German Theatre on January 23, 1919
was the first appearance of a Latvian opera troupe in the house, that later,
in December of the same year after the end of Independence War, became
the Latvian National Opera.
From that time on, the LNO was one of the most important centres
of Latvian culture (not only music). Conceptual measures in LNO policy
of that time derived from the ideals of the new, independent state. Opera
aimed to maintain classical and national opera repertoire, to create new
Latvian operas and to stimulate the cooperation between neighbouring
countries. The emphasis was put on stimulation of creation of Latvian orig-
inal operas.
There are two canonic Latvian original operas –the aforementioned
“Baniuta” by Alfrēds Kalniņš (1920) and “Fire and night” by Jānis Mediņš
(1921). These are the first Latvian original operas with permanent artistic
value – musical dramas in the Wagnerian tradition combined with Rus-
sian epic national operas emphasising the importance of choirs and scenes
of folk celebration, symphonised music and expressive leitmotifs that often
refer to Latvian folk song melodies.
“Baniuta”
The opera “Baniuta” focuses on drama of the title character Baniuta and her
ability to choose between individual happiness and vengeance claimed by
the people. Baniuta is the wife of Daumants, leader of a Baltic tribe, who is
killed by a young man of another Baltic tribe shortly after his wedding. His
122
