Page 129 - 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. 129
opera and national culture in latvia: the centenary balance
that used to symbolise Latvia-ness in diaspora society in the mid-20th cen-
tury. The production lead to the conclusion that in the 21st century, Latvi-
an opera does not work as the bearer of national identity despite the rep-
resentations of national culture included in the score, text and visual signs,
showing the crisis in the relationship between national culture and opera.
Although regularly commissioned and staged at least once in two years,
contemporary Latvian operas do not attract much attention from the audi-
ence after the premieres and first season.
The Concept of the “Nation that Sings”
In Latvia, the interconnection between opera and national culture has been
transformed along with changes to the socio-historical conditions, but
there are some concepts that are permanent in the collective consciousness
of Latvians. One of the most widespread self-perceptions of Latvians as a
singing nation, caused by the strong choir movement since the end of the
19th century and high musical culture in general. In addition, it comes here
to Latvian opera singers and their boundedness to “homeland” if we refer
back to Anthony D. Smith. Latvianness in opera today in the conscious-
ness of Latvian people means striving for greatness in performance. There
are quite a number of Latvian or Latvian-born opera singers starring on
world opera stages: mezzo-soprano Elina Garanca, sopranos Marina Rebe-
ka, Maija Kovalevska, Kristine Opolais, tenor Aleksandrs Antonenko, and
Wagnerian bass-baritone Egils Silins to mention just few of them. Curious-
ly, their success on the world’s operatic stages, including the MET, Vienna
State Opera, Bavarian State Opera, Opera Bastille in Paris and other works
as a source of national pride.
Another aspect is the marketed identity of the city of Riga as the city of
origin, the cradle of renowned musicians, as for instance in the case of the
“Born in Riga” concert in the framework of the year of Riga as European
Capital of Culture in 2014. It comes back to common roots and origins that
create new myths. In 2018, the title “Born in Riga” was extended to “Born
in Latvia” for the centenary season concerts. The programme involved not
only opera singers, but also, for instance, the current conductor of the Bos-
ton Symphony Orchestra and Leipzig Gewandhaus orchestra chief conduc-
tor Andris Nelsons, the artistic director of the Berlin Komische Oper Ainars
Rubikis, violinists Gidon Kremer, Baiba Skride, Vineta Sareika, accordion-
ist Ksenija Sidorova and others in the anniversary celebration schedules.
As for opera, a competition for new Latvian original opera librettos took
127
that used to symbolise Latvia-ness in diaspora society in the mid-20th cen-
tury. The production lead to the conclusion that in the 21st century, Latvi-
an opera does not work as the bearer of national identity despite the rep-
resentations of national culture included in the score, text and visual signs,
showing the crisis in the relationship between national culture and opera.
Although regularly commissioned and staged at least once in two years,
contemporary Latvian operas do not attract much attention from the audi-
ence after the premieres and first season.
The Concept of the “Nation that Sings”
In Latvia, the interconnection between opera and national culture has been
transformed along with changes to the socio-historical conditions, but
there are some concepts that are permanent in the collective consciousness
of Latvians. One of the most widespread self-perceptions of Latvians as a
singing nation, caused by the strong choir movement since the end of the
19th century and high musical culture in general. In addition, it comes here
to Latvian opera singers and their boundedness to “homeland” if we refer
back to Anthony D. Smith. Latvianness in opera today in the conscious-
ness of Latvian people means striving for greatness in performance. There
are quite a number of Latvian or Latvian-born opera singers starring on
world opera stages: mezzo-soprano Elina Garanca, sopranos Marina Rebe-
ka, Maija Kovalevska, Kristine Opolais, tenor Aleksandrs Antonenko, and
Wagnerian bass-baritone Egils Silins to mention just few of them. Curious-
ly, their success on the world’s operatic stages, including the MET, Vienna
State Opera, Bavarian State Opera, Opera Bastille in Paris and other works
as a source of national pride.
Another aspect is the marketed identity of the city of Riga as the city of
origin, the cradle of renowned musicians, as for instance in the case of the
“Born in Riga” concert in the framework of the year of Riga as European
Capital of Culture in 2014. It comes back to common roots and origins that
create new myths. In 2018, the title “Born in Riga” was extended to “Born
in Latvia” for the centenary season concerts. The programme involved not
only opera singers, but also, for instance, the current conductor of the Bos-
ton Symphony Orchestra and Leipzig Gewandhaus orchestra chief conduc-
tor Andris Nelsons, the artistic director of the Berlin Komische Oper Ainars
Rubikis, violinists Gidon Kremer, Baiba Skride, Vineta Sareika, accordion-
ist Ksenija Sidorova and others in the anniversary celebration schedules.
As for opera, a competition for new Latvian original opera librettos took
127
