We talk with Juliis Grickevičius, a lover of classical and jazz music, a person who works with the biggest cultural institutions, about the upcoming premiere and what will make it interesting and enticing.
– LNOBT chose this piece to commemorate the hundredth anniversary of the composer’s death. What attracts you to this Puccini work?
– It is very symbolic that this work was chosen to be shown on the occasion of the anniversary of his death, because it is the last completely finished work of the composer. Puccini’s opera Turandot is already in the theater’s repertoire, and it is likely that these two performances will fit together in a meaningful way, since both were created at a similar time. unfortunately Turandot the composer did not have time to complete it, so the triptych is his last large completed opus.
It is a very large work – three different one-act operas. A lot will depend on the director and his decisions and how the performance will be composed. For example, in one of the last high-profile interpretations of the triptych, director Christof Loy’s performance at the Salzburg Festival, Asmik Grigorian played all three main roles.
The composer himself insisted that this work be staged together and performed in one evening, but, of course, there were all sorts of exceptions, and this work has really different display strategies. It is precisely for this reason that it is very worthwhile to allow yourself to take advantage of the opportunity and see this grandiose work in Vilnius.
– What is the overall situation of the triptych genre in Lithuania and Europe?
– I’m not sure if the triptych is a genre or a way of telling a story. There are many unshown or long-built works in Lithuania that are waiting for their moment on the big LNOBT stage. It is possible that listeners have not yet had the opportunity to discover this work, but I have no doubt that they recognize individual arias.
A triptych is a kind of cycle that has some kind of connection, it can be a theme, a libretto author, a composer, a problem, a philosophical thought or something else. And it is possible that there is no obvious dramatic connecting link, as in this case. The main thing is not the character, but the mood, the music, the dilemma.
If you go through the history of the opera, you can see that hints of the triptych appear even earlier. For example, Wolfgang Amadeus Mozart’s operas based on Lorenzo da Ponte’s librettos are a kind of triptych. But a rare theater shows them simultaneously or in the same season. Gaetano Donizetti can also be mentioned The Tudors trilogy is also a triptych, but rarely will we see those operas next to each other. Richard Wagner Ring of the Nybelung – closer, it’s a cycle, usually shown together. Immediately after Puccini, Paul Hindemith created his own version of the triptych. Maybe this is a distant example, but a similar form of narration can also be seen in the cinema, for example, in a movie Hours (English The Hoursdir. Stephen Daldry) “talks” about the stories of three seemingly unrelated women.
According to sources, composer Puccini was inspired by one-act operas. 19th century at the end, Pietro Mascagni captured the hearts of the audience The honor of the village ir Ruggero Leoncavallo Pajacai. They tell an impactful and powerful story in a short time. It seems to me that it has become a challenge and a lure for the composer. Of course, Puccini was always actively looking for new forms, means of expression and studied the works of contemporaries such as Claude Debussy or Igor Stravinsky.
Today, the triptych form is more often seen in the language of dance. The works of three different creators or three different themes in one evening is quite a popular practice. And there were many such cases on the LNOBT stage. Puccini’s triptych is not a rare Alex Reed in major European theaters.
– Why the triptych is so easy to dismantle and why is it varied with one-act operas?
– Because each of them is independent and complete. The composer wanted this work not to be divided, in his words, it is like a symphony, where two parts of a lively tempo frame the lyrical one. Also, Puccini’s idea is based on his favorite Dante’s Divine Comedytherefore Hell, Beauty and Paradise must be together. The triptych reflects these three parts, but not quite directly.
However, various exceptions were requested during the composer’s lifetime and the complete cycle was rarely performed. Puccini thought it would be the most popular Sister Angelicabut the audience’s verdict was different. Giannis Skikis became the most popular one-act opera, it is often separated from the cycle and performed alone.
– What is the history and context of this performance?
– The work was written at the end of the First World War, when Europe was drowning in ruins, so the premiere took place in New York Metropolitan Opera in the theater. However, the move towards it started much earlier, in the 20th century. at the beginning after writing Tosca. The idea was soon put into practice and brought back to life during development Madam Baterflaifinally returned with renewed vigor after the death of Puccini’s publisher, Giulio Riccordi, who had just suggested not to go down this path.
Material has become the main object of search for the composer – who will offer this genius combination of three elements dictated by Dante? Tests and conversations with famous librettists of the time were varied. Even the works of Maxim Gorky were interested. Ultimately, all three parts of this piece came from different sources.
In the sky inspired by Didier Gold’s play seen in Paris La Houppelandebuilt at the time popular big puppet style, a kind of horror comedy or thriller with elements of comedy. The libretto was created by Giuseppe Adami, a faithful collaborator of the composer, playwright, author of librettos.
The author of the other two librettos is playwright Giovacchino Forzano. After the melodramatic The turbans horror needed something uplifting. It is characterized by that Sister Angelicawhich the composer began in 1917. Puccini’s sister was a nun, so he had a first-hand account of monastic life. Finally Giannis Skikis – comic opera. The composer wanted her to have the same place in his work as Giuseppe’s in Verdi’s biography – Falstafo. The directors like to elevate this opera to a social satire. Thus, the sixty-year-old composer once again proved what he is capable of: creating a new formula of drama and music in a set of three operas.
What connects all three operas? Probably the eternal themes are love and death, perhaps more so death and the relationship with it. Three different plots, three different eras in which the action takes place, three different registers of moods, three different, at first glance, works that make little sense. And these differences form an indivisible whole.
– Why should the audience of the Lithuanian National Opera and Ballet Theater see this performance?
– I will answer briefly – because of the wonderful music. In one evening you will experience the works and themes of three different genres: crime In the cornera sentimental drama in an opera Sister Angelica and comic opera Giannis Skikis. All three operas take place in different historical times. Thus, the audience will be able to solve the conundrum raised by the director: what is the invisible connection between these operas?
And at the same time, we will again hear Puccini’s music, which the audience really liked. To Turandot people flock in droves, and these works are of a very similar period.
The choice of the theater to stage such a complex work is really welcome, so it is simply necessary to see how the Vilnius stage will overcome this challenge. Perhaps this hints at future plans for the theater?
– Puccini’s works have been performed on the Lithuanian stage for decades and still receive great love from the audience. Why is this composer so loved in Lithuania?
– This question can be answered by Puccini himself in words: a composer must follow several rules in the theater. First you need to interest, then surprise, and finally make you laugh or cry.
This rule applies to many performances. I think so Turandot the success was also determined by the touch of the director Robert Wilson – he was especially liked by the Lithuanian audience. For other performances such as Bohemiansit took time. Another huge success was directed by Anthony Minghella Madam Baterflaieven twenty years after its construction, still retains its extraordinary magic. These performances have become the visiting cards of the theater, you want to see them more than once, they prove by their example how alive and necessary the opera genre is today.
– Before the performance, the audience usually asks what the piece will be about and what to expect from it. What kind of homework should be done this time?
– It won’t be difficult to recognize some of the melodies, it’s Laureta’s aria Oh my dear baby or an aria Without mom from Sister Angelica are embedded in the general culture. The parts of the triptych are really different: dramatic Skraistesentimental Sister Angelica and comedy of art style Giannis Skikis will be interested in dramatic vicissitudes. Therefore, between operas, you will definitely need a cup of hot chocolate to purify the taste, so that when you return to the hall, you can watch another story with new eyes.
Puccini’s music captures and excites. In the dramas he creates, you can easily see yourself, identify with the characters and live with them. The most important thing during this performance is to open your heart and enjoy.
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Y Puccini’s music is. His ability to evoke deep emotions and create memorable melodies resonates with Lithuanian audiences, allowing them to connect with the stories and characters he portrays.
Moreover, the themes of love, sacrifice, and tragedy that permeate Puccini’s works strike a universal chord, transcending cultural boundaries. This relatability contributes to the lasting appeal of his operas in Lithuania, where audiences appreciate the dramatic depth and emotional authenticity of his compositions.
Puccini’s enduring popularity in Lithuania can be attributed to his exceptional ability to engage, surprise, and move audiences, along with the high standard of productions that continue to bring his music to life on stage. The combination of powerful storytelling and magnificent music ensures that his works remain vital and cherished within the Lithuanian operatic landscape.
