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Opera in 3 acts
(sung in German with Lithuanian surtitles)
Libretto by Richard Wagner,
translated into Lithuanian by Jonas Vilimas
Music Director and Conductor Jacek Kaspszyk
Director Eimuntas Nekrošius
Set Designer Marius Nekrošius
Costume Designer Nadežda Gultiayeva
Lighting Designer Levas Kleinas
Premiere: 10 March 2007
“The Valkyrie” is a monumental music drama, second opera in the famous Wagner’s four opera cycle “The Nibelung’s Ring”. This cycle, the most ambitious creation in the history of opera, took 26 years to complete. Even today Wagner is provoking the ones interested in his works to choose - for or against. You can not like Wagner just a little bit: either you dive into the enchanting world of never-ending melodies, stormy brass, love, repentance and cosmic logic, or this world remains extraneous and almost opposing.
Wagner’s ability to possess the attention of the audience is one of his most unique features. His later music dramas last for four, five, six hours, but with the help of recurrent leitmotifs and so called Wagner’s never-ending melody, the effect of solid musical texture is created – the listener is submerged into this specific ritual, which could be compared to a dream or vision, where the means of time and space suddenly change.
Director Eimuntas Nekrosius already established his legend in Lithuanian and other countries' space of drama theatre, and of late years the audiences are getting interested in his opera productions. He is not the only one who comes to opera from drama, bringing together bright new undertones and images. "The Valkyrie" is the fourth opera directed by Eimuntas Nekrosius.
Eimuntas Nekrošius on opera:
I never thought that opera is an emotional genre. But I’ve already experienced, that it can be exclusively emotional. If you are constantly “turning somersaults” in the theatre so that the people can really feel the tension and anxiously follow the action on stage, then sometimes you don’t need anything else. You just leave the soloist, and he expresses everything with the voice. Now I am thoroughly persuaded that the most beautiful instrument is a human voice.
I can’t understand the world of contemporary opera productions, everything there is broken and distorted. Opera is loosing its sanctity. No one has a right to violate the tradition, because traditional opera has so much charm. Of course, we are living in different times now, so we have to clean off the dust, brush away the spiders’ webs – all this needs to be done with great care.
The most important task given for every opera director is to let the music flow. It is so hard to restrain yourself, to have limits. It is important to keep the moderation. Music in itself is very eloquent - the director only accommodates it with the visual space. Director is the translator of music.
I am not much of a scholar when it comes to music. And there are times when I don’t understand some consonances, shades of the orchestra and soloists. Well, at least I don’t understand it fully. But then a wise conductor tells me to simply do my job. A conductor never intrudes into director’s field. He will never tell you that something is wrong. In turn, I never intrude into music.