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DRESS CODE: OPERA (Lithuania)
Nanoopera

19 April 2015, Sunday, 8:00 pm
Black Hall, Arts Printing House (Šiltadaržio g. 6, Vilnius)


Idea: Justas Tertelis, Rita Mačiliūnaitė
Libretto: Rita Mačiliūnaitė, Justas Tertelis
Composer Rita Mačiliūnaitė
Director Justas Tertelis
Lighting designer Julius Kuršys
Sound engineer Dalius Lapinskas
Producer OPEROMANIJA

Performers:
Rafailas Karpis (tenor)
Vytautas Vepštas (baritone)
Vytautas Giedraitis (clarinet)


The plot of this nanoopera deals with the traditional opera, its rituals, aesthetic and ethical traditions. The opera analyses one of the rituals practiced by men, who are going to the opera. Here the nano-issue of the relationship between outer and inner beauty in the opera dress code that society requires from men is asked.

The spectators should understand the title "Dress Code: Opera" in the direct sense and before getting dressed they should experience the idea encoded in the opera that they should be properly/suitably/in an opera-like way/smartly dressed.


Do we create a dress code or does it creat us? 
Rita Mačiliūnaitė, composer

Why do men going to the opera need a necktie?
Justas Tertelis, director

What does Rita Mačiliūnaitė's nanoopera "Dress Code: Opera" that lasts less than three minutes tell us in the surroundings of our crazy world? It is obvious that the author disagrees with those composers, who, according to Gérardo Grisey, steal time of the listeners' lives. Quite the contrary sixty-one bars are enough for her to make a sketch of theses of her creative work, look for a relationship with the vocal audacities of the avant-garde, and compose opera heresies of the 21st century. However, as appropriate for quality nano-products, this opera opera is permeated by creative and technologic ingenuity. For instance, depending on the listener's attitude, all four parts of the opera (tape, clarinet, tenor and baritone) can model by choice the changing functions and relationship between "performers" and "the orchestra pit". In the nano-opera there is the composer's obligatory original "leit-timbre", or rather her favourite clarinet. With its technical virtuosity it beats without any scruples or the smallest argument the opera personages who try to sing and taking the stance of the hero installs itself on the throne. Is it one more mutation of contemporary opera? The secret of the connection between the title and compositional identity is a test of our creativity.
Prof. Dr. Gražina Daunoravičienė, musicologist

The strangest thing is that from the very first beat until the end the work gripped the audience with its energy and kept it all three minutes. The nanoopera received the loudest ovations. The composer Rita Mačiliūnaitė' s well thought-out dramaturgy brought the success. There were no unnecessary pauses. If it was possible to visually depict the principle of the arrangement of the musical material, it would be proper to draw a straight line going up. Yes, it was exponential growth.
Brigita Jurkonytė, Literatūra ir menas (4/1/2013, No. 3408)

Duration
2‘40‘‘ (no intermission).

Premiere
19 December 2012, Black Hall, Arts printing House, 5th contemporary opera festival NOA (New Opera Action).

Instructions for spectators
We suggest you come smartly dressed to feel better. Every man wearing a costume feels manlier than he really is, and every woman in high heels can look down and see more.

Tickets
€1 (available at TIKETA)

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