Operos solistas epochų sandūroje

LTOperos menas istoriškai buvo puoselėjamas aukštuomenės ir valdovų. Nepaisant savo aristokratiškos prigimties, opera nebuvo atmesta ar uždrausta sovietmečiu kaip „buržuazinė atgyvena“. Priešingai, operos žanras išlaikė išskirtinę vietą sovietinėje menų hierarchijoje. Atitinkamai operos solistas buvo prestižinė profesija. Tie, kurie pasiekdavo karjeros aukštumų, įgydavo privilegijų, apdovanojimų ir teisę reprezentuoti sovietinį meną užsienyje. Ši galimybė buvo sunkiau pasiekiama kitų sričių menininkams. 1990 m. Lietuvai paskelbus nepriklausomybę nuo Sovietų Sąjungos situacija dramatiškai pasikeitė. Kaip ir visos kultūros bei meno institucijos, Lietuvos nacionalinis operos ir baleto teatras prarado finansinį stabilumą. Operos solistai iš ankstesnės prestižinės socialinės pozicijos atsidūrė tarp pažeidžiamiausių visuomenės sluoksnių. Kita vertus, teatre, kaip ir kitose institucijose, kilo apsivalymo nuo sovietinės nomenklatūros idėja. Straipsnyje, be šios problemos, taip pat nagrinėjami operos solisto statuso pokyčiai, pasitelkiant prancūzų sociologo Pierre’o Bourdieu kultūrinio kapitalo ir simbolinio kapitalo kategorijas iš jo kultūros lauko teorijos, pagal kurią meninė veikla analizuojama socialiniuose kūrybos, sklaidos ir vartojimo kontekstuose. [Iš leidinio]Reikšminiai žodžiai: Operos solisto statusas; Sovietmečio pabaiga; Liustracija; Operos teatro valdysena; Demokratėjimo procesas; Artistinės karjeros pokyčiai nepriklausomybės pradžioje; Status of opera singers; End of the Soviet era; Lustration; Management of opera theater; Process of democratization; Changes in artistic careers at the early stages of independence.

ENDespite the fact that the network of Lithuanian culture institutions entered the early stage of independence almost without change, the Lithuanian National Opera and Ballet Theatre was significantly transformed. The theater was led by prominent singer Virgilijus Noreika, who held a double position—artistic director and director general. This double position and Noreika’s methods of leadership were under strong discussion at various times at the theater. When the Singing Revolution began and lustration was one of the main topics within almost all organizations, the opera and ballet community was also involved in the process. Noreika had both supporters and critics among the staff. Some of them addressed the Ministry of Culture and the Central Committee of the Communist Party with complaints about Noreika. In fact, Noreika was a symbol of the old bureaucratic and Soviet nomenklatura systems with their hierarchy and rites. Darius Kuolys, the first Minister of Culture and Education, and his team decided to separate the functions of artistic leadership and theater management and organize a democratic contest for the post of artistic director. There were five applicants for the post of artistic director, Noreika among them. The contest was won by composer Juozas Širvinskas. Kuolys also signed the order that the theater director (or manager) should be appointed by the artistic director without any competition, at his own discretion. We can conclude from this that at the beginning of independence, creative force and freedom were the most important values. After the long Communist Party ideological rule of cultural life, a new system was launched, placing the priority on creativity and artistry.In the early stages of independence, opera singers’ social status and financial situation changed. Despite the severe social consequences of the economic crisis, the most famous singers developed their cultural capital. Virgilijus Noreika and Eduardas Kaniava dedicated themselves to pedagogical activities. Vaclovas Daunoras succeeded in making a debut at the Metropolitan Opera in New York, where he sang for 10 seasons. A few members of the younger generation successfully started international careers. Sergej Larin, Violeta Urmana, Algirdas Janutas, Edgaras Montvidas, Laimonas Pautienius, and many others adapted their skills to the needs of Western opera companies. Some singers developed their symbolic capital (prestige, authority, or influence). These qualities were used by both left- and rightwing politicians to attract voters with popular names. Nijolė Ambrazaitytė began her political career during the National Revival and later became a member of the Lithuanian Parliament. A more significant appearance of popular Soviet-era opera soloists on the political scene was noticeable in the second decade of independence, when an interest in public relations strategies emerged. Kaniava was elected to the parliament for one term.Vladimiras Prudnikovas even worked as Minister of Culture for two years. Noreika did not succeed in being reelected. Two different parties tried to employ his popularity and renown. So, the first decade of restored independence in Lithuania was a period when the opera singer evolved from being a member of the socio-cultural elite to carrying out a specific profession in which high standards of professionalism and success could ensure an exciting, comfortable life. [From the publication]

• Muzikologija / Musicology
• Menotyra / Arts