Įsivaizduojama Čiurlionio opera "Jūratė". Šiuolaikinės operos festivalis NOA

9th Modern Opera Festival NOA
1025 24, Friday, 6:30 pm
On October 25, 2025, Saturday, 6:30 pm
Vilnius Old Theater (J. Basanavičiaus g. 13, Vilnius)

Jūratė
Imaginary M. K. Čiurlionis' opera
Premiere

Mikalojus Konstantinas Čiurlionis (1875–1911) was very well aware of the weight and importance of the opera genre throughout the cultural field. 1906. In January, his brother Povilas (and that before the first national opera - Mikas Petrauskas "Birutė") wrote: "Is the Lithuanian movement known to you? I am determined to dedicate all my former and future work to Lithuania. In this way, the opera was distinguished by the composer as an extremely significant form of expression of the identity of the national musical culture.
The idea of creating a Lithuanian opera to M.K. Čiurlionis became a specific ambition to meet a young writer, who later became a wife, Sofia Kymantaite. Until 1908 Summers were already known and opera themed. The legend "The Queen of the Baltic Sea" was to become the opera, which around 1830. Created by Liudvikas Jucevičius, a Lithuanian writer, ethnographer, folklorist, literaryist, historian and translator. The surviving sketch of M. K. Čiurlionis' scenography and correspondence about the libretto organized by Sofia clearly testifies that this version of the legend of Jūratė and Castile was based on.
From the correspondence we know that Sofia had finished the libretto and sent it to Petersburg, where Constantine was visiting at that time. We also know that the composer spent a lot of time at the piano with a librett, searching for the sound of "Jūratė". Konstantin Sofia, who has already met Libret, wrote about the musical language of the future opera and the stage, wrote: "Jūratė" I like more every time, and I have heard a little music in it today. Zose, Zose, advise me. Do I have to avoid folk tunes in it, or not? Do I have to read with technical difficulties or not? Because when you think that our poor people have and have nothing, I'm sorry that this work will overtake them, and you and I want to give them something. You understand me, Zosel, that I don't want to break myself, I just want to make a harder task. I want it to be done even in Warsaw, and when time comes in Vilnius, but a lot of water will drain. ”
It becomes obvious from the letters that the composer already had a clear and detailed vision of the opera and the first scene - the order of the characters, the teaching of the opera numbers, the sequence of choral voices and the like - but all this remained untreated or not saved. In 1906-1909, when the composer considered the possibilities of the opera creation, the works of Čiurlionis of that time, which survived most sketches, reveal a very diverse and subtle artistic world of the composer, dominated by marinated images and folk song fragments, which testify to very bold compositional strategies. These sketches and fragments betray how deep Čiurlionis was immersed in the planned Lithuanian opera "Jūratė".
Based on these sketches and fragments, Čiurlionis' letters, the scenery sketches, as well as using artificial intelligence (di) tools to generate musical material, a large creative team created an imaginary M. K. Čiurlionis opera "Jūratė" - a dream that itself was not fulfilled.
The opera tells the legend of the sea ruler Jūratė, whose amber palace is located on the bottom of the Baltic Sea. Jūratė falls in love with the man of the earth - a bold and ordinary fisherman, Kastytis, who does not obey the will of the gods and fish in the sacred, forbidden sea waters.
The gods, especially the powerful Thunder, are furious about the forbidden love of the divine Queen and the mortal man. He hits lightning into the Jūratė Amber Palace, breaks them and distinguishes lovers. Kastytis drowns in the stormy sea, and Jūratė is condemned to eternally blush for lost love and rinsed the amber tears to the Baltic coast. True, Čiurlionis wanted his opera to be an open to interpretation of the work and perhaps to testify to eternal love, so as he predicted, the imaginary "Jūratė" finale sounds "Eternal duo".
The imaginary M. K. Čiurlionis opera "Jūratė" was created for the Vilnius Old Theater scene and compactly for the orchestral lodge of this theater. This space is not chosen by the prime minister. After all, it was the Old Theater of Vilnius, built in the 20th century. At the beginning of the 1913, when he opened its doors in 1913, the fruits of Sofia and Castuk's common creation could become a scene.
Historical consultant Rokas Zubovas
The author of the libretto Julius Keler
Composers: Mantautas Krukauskas, Arvydas Malcys, Mykolas Natalevičius
Director Gintare Radvilavičiūtė
Stage designer and costume artist Renata Valčik
Choreographer Sigita Mikalauskaitė
Light artist Eugenijus Sabaliauskas

Performers:
Vilnius City Municipality Christopher Chamber Orchestra (artistic director and conductor Modestas Barkauskas)-Simas Tankevičius, Miglė Dikšaitienė, Nadia Ochrimenko-Gallė, Jonė Barbora Kizne, Monika Sapiegaitė (I Violins), Aidas Jurgaitis, Rugilė Šilalytė, Irena Milošaitė violins), Mintautas Kriščiūnas, Birutė Dučmanaitė-Bitaitienė, Birutė Ilčiukaitė (Altai), Domas Jakštas, Vaidas Tamošiūnas (cello)

Vytenis Gurstis (flute), Ugnius Dičiūnas (obojus), Karolis Kolakauskas (clarinet), Vytautas Giedraitis (bass clarinet), Jonas Žemonis, Stefanas Berluti (I Waltorna), Albinas Stonys (II House), Andrius Stankevičius (Trimitas) (Tūba), Lukas Budzinauskas, Jose Vincent Fusco Paradise (percussion), Lucilė Uršule Vilimaitė (harp)

Vilnius City Municipality Choir "Young Music" (artistic director and conductor Vaclovas Augustinas) - Lina Valionienė, Viktorija Šedbaraitė, Augustė Andrijauskaitė, Vaiva Joana Jakštaitė, Gabrielė Valionytė, Onutė Aleksiūnaitė, Milda Poškaitė, Justė Andrikonė Rapalavičiūtė, Justinas Šaltenis, David Janušas, Domantas Voice, Romas Makarevičius, Dainius Balsys, Tomas Kreimeris, Mantas Gontis, Justinas Valaitis, Linas Zdanys

Conductor Karolis Variakojis

Soloists:
Jūratė - Lauryna Bendžiūnaitė (soprano)
Kastytis - Roman Kudriašov (baritone)
Thunder - Raimundas Juzuitis (boss)

Actors:
Constantine - Telman Ragimov
Sofia - Sigita Mikalauskaitė
Also works-Victoria Aliukone-Mirošnikova, Nikolaj Antonov, Jahen Bakala, Larisa Popova

The opera librett into English was translated by Julius Keler

Producer “Opeomania”
Cotrodiuseris Vilnius Old Theater
Partners: Lithuanian Academy of Music and Theater, Klaipėda Puppet Theater, New Theater, Lithuanian Compose Union

Historical consultant Rokas Zubov:
"The joint creative work at the opera Mikaloji Konstantin and Sofia Čiurlionis became a factor of their two friendship and love to a seamless spiritual space. After a half -year friendship in Vilnius, the fiancées go to Palanga for the summer, where they stayed separately. The opera plan, the structure, the main accents, since Constantine, in the autumn, receives a libretto written in St. Petersburg and is attacked by the future sketches of future scenes For Lithuania and the lack of real opportunities for the construction and performance of true opera, the lack of "Jūratė", probably "so far", is pushed to the background. Unfortunately, "so far" is extended to eternity. What important this creative communion was Sofia, what a deep wound remained in her heart after the loss of life, we can understand that after Constantine's death, the writer burned the libretto and never remembered anywhere about the opera. The creative team, after more than a hundred years since the summer in Palanga of Mikalojus Konstantin and Sofia in Palanga, from Vilnius to St. Petersburg and Back, brought together to try to take inspiration and tell the mystery of the Lithuanian marine legend. a river that brings the message and meaning from the past to the future. The opera born today will not be "restorative", but it will certainly be "imaginary", reflecting the fact that we live in quite different times, that every person of the creative group will put his heart beating today: the Culture River has been leaking for almost a hundred and twenty years. "

Librettist Julius Keleras:
“The imaginary opera" Jūratė "is not just a musical fantasy of love and sea, the shadows of unfinished notes and the old Lithuanian legend. It is like a reborn vision of M. K. Čiurlionis, whose musical outline is embodied by modern composers, and the bridge between unrealized dreams and contemporary stage art, between the past and the present, there is artificial intelligence - medium between uninhabited music and the hearing of the modern world. It is a living, convincing dialogue where creation is intertwined with technological intuition, becoming both revived and imagined. I wrote the second part in Nida, looking at the sparkling Baltic. And now it is impossible not to think about Jūratė, the flame of love, viable, real, unparalleled with anything. Unless with a natural sea, which is also love. And the initial impulse was the legend of L. A. Jucevičius, how much crazy and intoxicating idea of the work itself, a great team of creators. ”

Composer Mykolas Natalevičius:
"The task of generating the material forced me to move away from the usual nature of the composer. The musical opera material was created by submitting the DI model inquiries consisting of fragments of M. K. Čiurlionis' works. At the beginning of the work it was quite difficult to obtain the results at the beginning of the work. The change has made it possible to achieve more musical results. The result of the entire part of the work would be to continue the normal work of the work and to develop other habits later, as well as the result of the work, and the issue of working with di ethics. At the same time, another aspect, which is often overlooked in today's debate, is that Di is viewed as an unreasonable and technologically impossible expectation. In the spectrum, it is felt from start to finish and reveals the relationship between the two adjacent tunes, but between the different voices between the works at the beginning and at the end of the work. And today's algorithms do not cover it. Music begins to exist when it is listened to, understandably, intuitively felt. Typically, music is created by those who have musical intelligence, or, in other words, great sensitivity to sounds. Those who are able to associate sounds and audio structures with sensual effects. And how do you recreate music through DI, which information is filtered with an abstract, logic based on communication recognition, but those ties in music are subtle? Recognizing such relationships can help you evolve and become a more independent tool in the future. But for this, we should understand even deeper how audio structures, music, and not individual fragments or structural elements work, but complex, changing, non -standard combinations. ”

Composer Mantautas Krukauskas:
"The imaginary opera is a great example of creative cooperation, in which respect for M. K. Čiurlionis 'ideas, the sensitivity of contemporary music creators and the responsibilities of the artificial intelligence tools. The musical language deliberately relies on the late Ciurlionis' work. Cultural archetypes, the end of the 20th century At the same time, it is contemporary, the possibilities and concepts of the 21st century. and at the same time encourage us to rethink the composer's work dynamics. It is not so much to deconstruct or reconstruct, but to imagine or reflect. For centuries, he waited for heard, seeing and feeling. ”

Composer Arvydas Malcys:
"As I began to delve into the idea of building an opera, I tried to imagine the fashion, stylistics, fashionable strokes and sounds of the time. It was important to feel the flow, color, pulse, mood of the music that unites the past and present. a. Alexander Sklabin, the Opera Orchestra, is characterized by late Romanticism and Expressionism, focused on the dense and expressive orchestral sound of the Richard Strauss. Pragieda, ”even changed her notebook at the Leipzig Peters Publishing House Library. I tried to convey all this in the Opera Score. Orchestra composition - 30 performers. This is, of course, a small orchestra that is suitable for Sinfonietta. The composition of the orchestra responds to the premiere location - the Old Theater of Vilnius, whose orchestral lodge would not be able to accommodate more musicians. On the other hand, in the 20th century. At the beginning of the 19th century, it would have been difficult to assemble a large symphony orchestra in Vilnius. Čiurlionis' imaginary opera "Jūratė" was a fun job, an unforgettable experience. "

Conductor Karolis Variakojis:
"Strange, jerking organics. It makes small cracks in music, as if it doesn't allow it to become seamless, to catch momentum and develops. I often don't understand how one or another episode should turn at that cracks. One of the most interesting things is to intervene in those cracks."

Director Gintarė Radvilavičiūtė:
"In this creative process, you want to take a look at the image of the ideas of the time in the mirror, which remained gliding. You want to fantasize from letters, memories, snippets, how Castuk and Sofia, created by Sofia, could look like. Čiurlionis was a creative, unique imagination and fantasy awarded an artist, and to touch his personality, his creative work, he really lived in another world. In a world where love and fellowship dominates, and something is important, which we cannot live today. This creative process wants to touch this story. Two people had nothing but lived in the world of ideas. And how not to lose the idea now when we have everything? Is love still a value? Is love eternal? .. Here, the parallels between Jūratė-Kastytis and two only beginners-Sofia-Kastukas. From Čiurlionis' letters to Sofia: "... because we will die, we will meet in other countries, and so always you, because we are eternity and infinity. Remember? It has been a very long time ago and probably changed our form. I feel so much energy and belief in myself that I will overcome the task that I even dare to write to you about it. ”

Choreographer Sigita Mikalauskaitė:
"Rip the beyond sea of time, look through the haze created by M. K. Čiurlionis. Jump the silence from the fragments of flushed pulses."

Stage designer Renata Valčik:
“To touch the creation of genius and create scenography in the unfinished opera" Jūratė "is a huge challenge, so I seek to use the spiritual and aesthetic legacy of Čiurlionis' creative work. My ambition is to create a contemporary but Chiurlionian worldview inspired by a stage sight; To create a space where myth, music, dream and nature meet. The visual world will be based on the principles of Čiurlionis' painting: symbolism, poetics of light and space, floating space and dreamy mood. The decorations will not become an illustration, but with an ever -changing emotional landscape - a live stage vision that responds to music, voice and movement. When working with director Gintare Radvilavičiūtė, we use the poetic language of theater, metaphorical narrative, when objects, materials, textures become equal participants of the narrative - a visual metaphor that conveys the internal states of the characters, the forces of nature, the flow of time. The objects on stage will not be so much things as the bearers of memory, myth and emotion. Here we cooperate with contemporary Lithuanian artists representing different fields - from music to light design - so we extend the Čiurlionis interdisciplinary, sintetic approach to art. It is not only an opera, but a collective creative experiment aimed at symbolically completing the artistic vision of Čiurlionis, but not implemented.
The artificial intelligence tool "CompoSerites Assistant 2", created by dr. Martin Malandro (USA)
Duration: 90 minutes (2 steps with break)
In Lithuanian with Souritras in English
The event will be filmed and photographed by the organizers and the material will be distributed publicly.

You can apply for 10 or more tickets at: vipklienti@bilietai.lt Doors open: ~ 18: 15
Event duration: ~ 2: 00
Breaks: There are
Language of the event: Lithuanian with English subtitles
Children are admitted free of charge: No
Age censorship: N-10
Discounts:
Discounts apply to students, students, seniors, disabled (license) and stage art professionals (discount code to apply to info@ opeoperomanija.lt).

Tickets to the Taxophone Opera "Things I Dare to Say, and Now It Is It Is It It Is It Is It Is It It Is It Is It It Is It Is It It Is It It Is It It Is It Is It Is It Is It It Is The Program of the Lithuanian National Drama Theater Tickets Purchase and Return Procedure and Discount Application Policy, which can be found here: https://www.teatras.lt/en/bilietai-ir-information/

The NOA Festival also invites you to purchase a NOA premiere subscription. The NOA premiere subscription allows you to visit 5 premiere events for 100 Euros, choosing from the following works of the NOA Festival: Song Festival, Forest, Anonymous Dance, Llllov, Sporos, Jūratė, Good Day! Remix. The choice of M. K. Čiurlionis' opera "Jūratė" places included in the NOA premiere subscription is the left and right 8-17 places of Vilnius Old Theater Belietta. Entrance tickets are provided to other NOA Subscription events for viewers, as well as "non -convertible" ticket holders. For the NOA Prime Minister, we invite you to contact us by email. by email vipklienti@bilietai.lt, in a letter stating your 5 NOA premiere selection.

On the AllEvents portal you can always Buy tickets to an event Festivals Įsivaizduojama Čiurlionio opera "Jūratė". Šiuolaikinės operos festivalis NOA, Vilnius, Vilniaus Senasis Teatras October 24

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