SYMPHONIC MUSIC AT THE LATVIAN NATIONAL OPERA IN THE INTERWAR PERIOD

Abstract

During the development period of the modern European nations, the opera theatres, amongst other institutions, became symbols of their cultural identities. In the largest capitals of Europe (Vienna, Paris, Berlin) opera theatres acquired authority and prestige beginning already in the 19th century, maintaining their status of objects of state prestige after World War I. Meanwhile, opera music was one of the most important objects of national identity. Since the proclamation of the national independence of Latvia on November 18, 1918, the Latvian National Opera (1919, further LNO) became the most significant and only opera centre in Latvia. During the period between the world wars, the opera theatre was a Latvian music institution par excellence. It represented the state and was a prestigious institution that, amongst other activities, facilitated the creation of new music and served as a platform for the composers of Latvia, who, in accordance with the state-defined objectives of the LNO, realized their ideas in the genres of musical theatre.

The LNO symphony orchestra evolved as an accompanying collective and, even today, continues to primarily fulfil this subordinate role. However, the history of this orchestra illustrates its aspirations to achieve institutional independence. The symphonic music genre did not immediately take its rightful place in the repertoire of the LNO orchestra – initially the division of genres was rather unclear. Eventually, the symphonic music genre gained a higher level of autonomy at the opera theatre; however, institutionally it still remained closely related to the many manifestations of the opera music genre. The opera arias, ballet suites and overtures performed at the symphonic concerts of the world opera theatres are an integral part of their symphonic music repertoire.