On 15, 16 and 20 May the Lithuanian National Opera and Ballet Teatre shall be welcoming its brand new premiere – Ludwig van Beethoven’s “Fidelio”, a co-production with the Bergen National Opera (Norway). The production was created by Oskaras Koršunovas, one of the most famous masters of Lithuanian theatre. Other members of the creative team for the Vilnius’ version of “Fidelio” include music director and conductor Martynas Staškus, set designer Gintaras Makarevičius, costume designer Sandra Straukaitė, lighting designer Stein Phillips, video designer Mikas Žukauskas, chorus master Česlovas Radžiūnas.
According to the director, “the “Fidelio” that shall be presented in Vilnius will not renounce the basic ideas of the Norwegian production; however, some elements shall be brought closer to the Lithuanian context and the events that we’ve experienced. We do have some additional ideas concerning the finale of the opera – after all, in Lithuania we’ve experienced some immensely beautiful moments of freedom. Maybe today there is a lack of them… I believe this version of “Fidelio” shall be sharper than the one that was presented in Bergen.”
“As a director I’m most interested in the intertwining of politics and love that is present in Fidelio. Without love, self-sacrifice and empathy we would all be crushed by the cogwheels of bureaucracy. Love is the only thing that doesn’t allow them to take over the world and prevents their final victory. Love is not just a feeling; it is also action, and the ultimate truth. In Fidelio, the connection between these things is captured very precisely and brought to life through very accurate language that sounds very modern.”
Speaking about the musical aspects of “Fidelio” music director Martynas Staškus claimed: “it is no secret that Fidelio is a political opera, and not just because of its storyline – L. van Beethoven is also politicizing through his music. His score reflects rebellion against the rigid rules of composition: the genre of opera allowed the composer to try out dramatic means of musical language that couldn't be used in symphonies or other genres. In Fidelio one may find many sharp turns, the music is angular, and sometimes the vocal parts sounds as if they were written to be spoken and not sung. We also won't find any instantly memorable melodies. However, all of these peculiarities of the score serve a higher purpose – they bring opera closer to drama and strive to create a powerful overall impression.”
“The storyline of this opera is quite static, the same can also be said about the music. But here also resides a tiny miracle – the composer is slowly and almost secretly leading us towards light and the immensely joyous finale. This road is quite lengthy, but L. Van Beethoven is paving it with great care, using the most subtle tools. This is the most prominent feature of the composer's musical legacy – very authentic, far from primitive and powerful Joy.“
The new production of “Fidelio” also brings together a strong cast of performers, consisting of both experienced singers and talented newcomers. The list of singers includes Karolina Glinskaitė, Nomeda Kazlauskaitė-Kazlaus, Aistė Miknytė, Rachel Nicholls, Irena Zelenkauskaitė (Leonore), Markus Ahme, Andrew Sritheran (Florestan), Egidijus Dauskurdis, Tadas Girininkas, Liudas Norvaišas (Rocco), Eugenijus Chrebtovas, Dainius Stumbras (Don Pizarro), Joana Gedmintaitė, Julija Stupnianek (Marzelline), Mindaugas Jankauskas, Tomas Pavilionis, Audrius Rubežius, Edmundas Seilius (Jaquino), Raimundas Juzuitis, Liudas Mikalauskas (Don Fernando).
