Riga Opera conductor discusses Art, Politics, and the Future of Latvian Song Festivals
Riga, Latvia – A conductor at the Latvian National Opera and Ballet recently shared insights on a range of topics, from the intersection of art and politics to the enduring appeal of classical performances and the significance of the Latvian Song and Dance Festivity.
Opera, Ballet, and Democratic Performances
Opera and ballet have historically thrived under royal and aristocratic patronage, a legacy that contributes to their perceived elite status. Though,the Riga Opera seeks to bridge this gap by offering a diverse repertoire. According to the conductor, the opera house presents elegant productions alongside more accessible performances, catering to a broad audience. “We are one of the very rare repertoire theaters,” the conductor stated, emphasizing the need to showcase numerous productions within a season due to the country’s relatively small population.
The conductor also noted the unique opportunity afforded to them at the Riga Opera: “Rarely is in the world the conductor has the opportunity to conduct almost all ballet classics in one season!”
The Enduring Appeal of “Swan Lake”
The conductor acknowledged that audiences frequently enough find their own interpretations within artistic works, citing the iconic “Swan Lake” as an example. “For example, a large number of people in the world are waiting for the little swans to come out of ‘Swan Lake’…”
while acknowledging the ”little swans” as a cliché, the conductor defended its artistic merit. “Small swans are cliché, admittedly ingenious.in this case, though, the cliché speaks in a good sense, in an artistic term, because only a talented number can become a cliché, nothing becomes about it, clichés cannot be imposed.”
Creativity in Times of Chaos
When asked about the impact of turbulent times on creative work,the conductor offered a contrasting perspective to the common notion that chaos breeds creativity. “It is said that creative people are better working in times when bad, chaos and gloomy. However, I have the opposite experience – musicians, artists or other creative professions, however, work calmer and better when the environment around them is organized. At least it is easier for me to work when everything is neat and calm, I can already be too creative.”
Conducting: From Opera to Amateur Choirs
The conductor dismissed the notion of a meaningful difference between conducting professional opera and amateur choirs. Recalling advice from a respected Latvian conductor during their student years, the conductor stated, ”When I was a young student, a famous Latvian conductor said that there was no difference in conducting the opera or the amateur choir. At that time I was very surprised about the statement, but now I agree – there is really no difference.”
The Latvian School Youth Song and Dance Celebration
As a member of the Artistic Council for the Latvian School youth Song and Dance Celebration,the conductor expressed enthusiasm for the upcoming event. “I’m looking forward to this holiday and know – the young people of my school choir are waiting for them too! Otherwise, they would not come to sing, the Song Festival and the feeling of this festival is a mighty thing!”
Acknowledging potential challenges, including demographic shifts and the impact of the pandemic, the conductor remained optimistic about the future of the celebration. “About the future – I’m not a clairvoyant and difficult,but there is now full swing throughout Latvia for choirs,dancers and orchestras.And, you know, there are not few participants, maybe less than before, but there are objective reasons.”
The conductor emphasized the importance of continuity between youth and adult festivals. “But the coupling between the great and the Student Festival is very simple: if there are young people who sing, there will be the big Song Festival in the future. Without such inheritance, nothing will happen.”
The upcoming celebration holds particular significance as many young participants and educators will experience it for the first time, due to previous cancellations and remote events. The conductor noted that “This summer, most of the school youth will experience their first song Festival, as the previous ones did not take place, they only took place remotely in 2021, after the E-Christmas concept.”
Opera, Choirs, and a “White House”
Beyond the opera, the conductor also leads school and parish choirs.Describing the Latvian National Opera and ballet, the conductor said, “The opera House combines the art spheres under the authority of the Ministry of Culture – music, dance, applied arts, scenography… This is the only place where it all combines, including even mentioned educational programs. It is indeed a very intense, dense environment, and it takes a while to understand if they are able to work there.I feel myself at the Latvian National Opera and Ballet – this is my White house.”
The conductor concluded by expressing their deep appreciation for choral music: “On the other hand, as long as I am talking about choirs, without looking for reservations, I can honestly say: enjoying the choir, I’ll do it!”
A Conversation with a Riga Opera Conductor: Art,Culture,and the Legacy of Song
Introduction:
Hello,and welcome! Today,we delve into the fascinating world of classical music and Latvian cultural heritage. We’ll be exploring the perspectives of a conductor at the Latvian National Opera and Ballet, gaining insights on the intersection of art, politics, the challenges and joys of music, and the cherished tradition of the Latvian Song and Dance Celebration. Let’s dive in!
Q&A Section:
Q: How does the riga Opera work to make opera and ballet accessible to a broader audience, given their historical association with exclusivity?
A: The conductor highlights that the Riga Opera actively seeks to bridge this gap. They aren’t just about catering to a specific elite clientele. They strive for a diverse offering. Within their repertoire, you’ll find both elegant, conventional productions and performances designed to be more accessible and engaging for a wider range of people. They are one of the few repertoire theaters, meaning they perform a variety of productions to satisfy the needs of the country, which has a relatively small population.
Q: What unique opportunities does conducting at the Riga Opera offer a conductor?
A: The conductor points out a truly exceptional aspect of their role at Riga Opera: the opportunity to conduct classical ballet masterpieces. “Rarely is in the world the conductor has the opportunity to conduct almost all ballet classics in one season!” this provides a deep engagement with significant ballet classics for the conductor.
Q: Can you share your outlook on the enduring appeal of works like “Swan Lake?” Do you see the famous “little swans” as important?
A: Of course! This is an interesting area of artistic interpretation. The conductor acknowledges that audiences frequently interpret artistic works in their own ways, even finding the famous “little swans” as a cliché in the plot. But even the most famous pieces of work are important, because they stand for the piece as a whole.
Q: What’s your perspective on the relationship between turbulent times and creativity? Do you agree with the common notion that chaos fuels creative work?
A: The conductor has a fascinating,and somewhat contrary,view on this. While it’s often believed that adversity sparks creativity, their experience suggests otherwise. “It is indeed said that creative people are better working in times when bad, chaos and gloomy… Though, I have the opposite experience,” they state.They’ve found that musicians and artists in general thrive best when their environment is organized and calm. “At least it is easier for me to work when everything is neat and calm, I can already be too creative,” they say.
Q: Is there a significant difference between conducting professional opera and amateur choirs,in your experience?
A: This is another interesting viewpoint. The conductor doesn’t believe so! Their experience, reinforced by advice from a seasoned latvian conductor during their student years, is that the core principles remain the same. “When I was a young student, a famous Latvian conductor said that there was no difference in conducting the opera or the amateur choir,” they recall. While surprising at first, the conductor now shares that sentiment.
Q: You’re on the Artistic Council for the Latvian School Youth Song and Dance Celebration. What does it mean to you, and what are you most looking forward to?
A: The conductor’s enthusiasm for this celebration is palpable. “I’m looking forward to this holiday and know - the young people of my school choir are waiting for them too!” They express the deep, powerful feeling the Song Festival evokes.
Q: The Latvian School Youth Song and Dance Celebration has faced challenges recently. How do you view the future of the event, especially in light of demographic shifts and the pandemic?
A: While acknowledging the challenges, the conductor remains optimistic. They recognize demographic shifts and challenges from the pandemic can affect event attendance but, ultimately, feel “there is now full swing throughout Latvia for choirs, dancers and orchestras.” They emphasize that while participation may be lower than in previous years, there are objective reasons why this is so.
Q: why is maintaining the connection between youth and adult song festivals so crucial?
A: The conductor makes a clear point about the future: “But the coupling between the great and the Student Festival is very simple: if there are young people who sing, there will be the big Song Festival in the future. Without such inheritance, nothing will happen.” They highlight the importance of passing the tradition on because the song festival is a cultural inheritance.
Q: This summer, many young participants will be experiencing the Song Festival for the first time. What significance does this hold?
A: This summer’s event will bring a significant first experience for many young participants. Before the pandemic, there was a halt to the festival, but it was online in 2021. Having a live experience for the youths is something the conductor looks forward to.
Q: Beyond the opera, you also lead school and parish choirs. What’s the essence of the Latvian National Opera and Ballet, or, as you call it, your ”White House?”
A: The conductor portrays the Opera House as a hub of artistic collaboration – a place where music, dance, applied arts, scenography, and even educational programs converge. It’s an intense and dense environment, and when the conductor describes it as their “White House,” it reveals their close relationship with the Opera House.
Q: what does choral music mean to you?
A: The conductor’s final words reveal a personal passion and commitment: ”On the other hand, as long as I am talking about choirs, without looking for reservations, I can honestly say: enjoying the choir, I’ll do it!” This emphasizes that music is not a job, but a thing to enjoy.
Conclusion and Call to Action:
Our conversation with the Riga Opera conductor has offered us a unique look into the world of classical music! We’ve heard about challenges and joys, and importance of cultural celebrations such as the Latvian Song and Dance Festival. We hope to see you next time for more of our creative conversations!
