On 7 November Lithuanian National Opera and Ballet Theatre shall hold the VII International Seminar of Opera Critics titled “Tristan. Between Opera and Ballet”. This time we invite all ballet specialists to join their colleagues from the field of opera. Another novelty is a special contest of critical reviews.
This year LNOBT launched its new season with a unique ballet performance, Krzysztof Pastor's “Tristan and Isolde”, set to the musical excerpts from Wagner's opera of the same name and “The Wesendonck Lieder”. It seems that this production appeals not only to the appreciators of ballet, but also those who prefer opera. Moreover, for LNOBT's ballet company K. Pastor's “Tristan and Isolde” is a massive step forward towards modern aesthetics, and at the same time it is a tribute to Richard Wagner and the year 2013, which shall be dedicated to the famous German composer. All these elements inspired to invite critics of opera and ballet for a collective conversation about contemporary ballet in Lithuania and R. Wagner's works. The Seminar is supported by the Culture Support Foundation.
7 November, Wednesday
Chamber Hall of the LNOBT
9:00 – 9:30 Registration of the participants
9:30 – 10:00 Opening of the Seminar
10:00 – 11:00 Mikus Čeže (Riga, Latvia). The Uncomfortable Truth and Pleasant Fantasy of Interpreting the Riga Period: “Richard Wagner” (1913), a Film by Carl Froelich.
11:00 - 12:00 Daniel Cichy (Krakow, Poland). The Melancholy of Wagner. Filling Gaps in the Repertoire, or About Mariusz Trelinski's Production of “Der fliegende Holländer” at the Teatr Wielki in Warsaw”.
12:00 – 12:30 Coffee break
12:30 – 13:00 Beata Baublinskienė. Dancing Chopin. About J. Neumeier's Ballet “Lady of the Camellias” (Between Opera, Ballet and Cinema).
13:00 – 13:30 Audronis Imbrasas. The Context of Contemporary Ballet in Lithuania.
13:30 – 15:00 Discussion “Between Opera and Ballet. United Teritory?”. Participants include Audronis Imbrasas, Mikus Čeže, Daniel Cichy, musicologist Živilė Ramoškaitė and all those who wish to express their opinions. The relationship that goes on between operatic themes and contemporary ballet is filled with paradox. What do ballets gain from the themes and music of classical operas? Why do choreographers choose such subjects, and does the junction between opera and ballet promote an additional effect on theatregoers, increasing their interest? Is this the case with ballet “Tristan and Isolde”? Does the interdisciplinary nature of the work change the evaluations given by the critics of ballet? In case of such production, how should one write an ideal review? Etc.
18:30 – LNOBT production “Tristan and Isolde”