#lnobt

[ylizbethvm]

Les millions de arlequin #ballet

[polinalyapustina]

Lietuvos nacionalinis operos ir baleto teatras

Šįvakar tyrinėjame skirtingus „Turandot“ aspektus. Nuo istorijos konteksto, personažų, iki aukos ir pasiaukojimo sąvokų operoje. Apie tai pasakoja kritikė, portalo Operawire bendradarbė Polina...

I had a fever and my leg hurt, but...

Here’s my yesterday’s lecture about Turandot prior to Robert Wilson’s production premiere.

[polinalyapustina]

Yesterday I received a message from Julijus wanting to call me to talk. I got sad because of that, I really expected him to cancel some of our work agreements.

When he called today, I tried to figure out what was wrong in every sentence, but eventually, everything was right, and he called just to talk. Because our plans are huge and serious, and he got nervous himself and wanted to align his mindset to mine.

That felt so respectful. Team like. I never expected that. And I don't know. Will see.

[polinalyapustina]

Also, we are preparing a panel discussion on Turandot for Bookfair. And promo video is shit =) I don’t care. Anymore. But Julijus wrote to me today, again, about making things better together. I don’t know what he is talking about. 

[polinalyapustina]

Also, I think I’m done with Lithuanian National Opera, because their approach is literally killing me. I have to spend 2 month working just in LT, and now I found that I did not want to do anything. Looking even to my previous projects and articles with no joy. Nothing. No passion, no ideas.

On Tuesday we had a 3 hours meeting with Head of marketing of LNOBT, kinda discussing Turandot panel discussion at upcoming book fair. And he called it brainstorm. But that was weak, as he wanted just to keep the flow safe. 

Also he said, that he’s super happy to have me (no one actually has me, ok?), but he needs me to stay in a distance of a freelancer. Because there is a theatre, that works, and needs to keep working. Thanks for honesty. 

I don’t really want to ruin the theatre. But I do want to change a lot, since we have dramatic tenor for Pinkerton and super powerful spinto soprano voice for Butterfly. And now gonna have high lyric soprano as Turandot. And student girl with no experience in Italian (and no Italian coach) for Liu. Luckily we have the same dramatic tenor for Calaf (he's not the only one who could do that, but this time he may be the best option). 

This absurd, that happens there should be changed. So what’s the problem, if I’m ready to say it loud and clear. The thing is that if they are not gonna give me a chance to say that, I’m not ready to just give my ideas for them to choose what to do with it, adjusting it for their personal needs.

[polinalyapustina]

I was confirmed to lead a panel discussion at Music hall of Vilnius Book Fair in the end of February.

This discussion is a part of Lithuanian National Opera education plan, in which I was offered to participate and direct in some point.

I’m gonna start a lecture series “Unraveling Opera”, to discuss every layer of this truly complicated art form. The topic of 2 upcoming events is all around Turandot. So panel at Book Fair and lecture in a week after it.