Alfrēds Kalniņš, opera "Baņuta'' (1919), ceturtais celiens.

Composer Alfreds Kalnins, first Latvian national opera - Baņuta. Fourth act.
1. Ievads 0:00 - 1:37
2. Laumu koris 1:38 - 2:23
3. Laumu dejas 2:24 - 3:49
4. Vižuta un Baņutas duets 7:10 - 8:39, 23:19 - 26:24
5. Koris "Jau tumsa zūd" 26:23 - 27:57
6. Koris "Pavadāmi Jāņu dienu" 27:58 - 30:52

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I first encountered the opera "Banuta" on “Spotlight on Latvia,” on the Boston-based classical Music station WCRB in the early 1980s. Host Sylvestris Lambergs explained that under the Soviet regime, it was difficult to import LPs from Latvia, shipments being limited to one or two LPs, which effectively constrained orders for this 3-record set. Later, when Latvia regained its independence, such absurd and intolerable restrictions were lifted and the opera was later produced on CD, which I acquired. I can still remember the program’s closing line-“Latvia, a land and people yearning to be free.”
The Latvians are a singing nation, as are the Lithuanians and the Estonians, whicb are also noted for having large song and dance festivals. These festivals are a unifying force, truly unique in world culture. In fact, it was singing that helped bring down the Soviet’s rule over Latvia. Called the “Singing Revolution,” it was manifest in the form of national and anti-Soviet songs that solidified the people and expressed their longing for freedom.
Set in the nondescript Middle Ages, “Banuta” is a tragic tale of palace intrigue, personal conflict, love, and jealousy. The opera, by noted Latvia composer Alfreds Kalniņš, and premiered in 1920, is richly evocative, employing a finely crafted orchestral score, combined with a variety of solos, ensembles and choral numbers.
It has since become Latvia’s national opera in the same way that Smetana’s “The Bartered Bride” has become the national opera of the Czech Republic.
The chorus figures prominently throughout the score, but particularly in the last act’s brilliant climax, represented in this segment at 26:25. This is representative of the traditional Latvian Līgo (the Latvian word for “sway”) songs, which are central to the Latvian choral tradition, and to the celebration of the summer solstice’s Jāņi festival on the 23rd and 24th of June. On Jāņi, it is the practice to travel from the city into the countryside to gather and eat, drink, sing and celebrate the solstice by observing the ancient folk traditions relating to renewal and fertility. Circular wreaths made of flowers, grasses and oak leaves are woven and worn on the head, with different types of plants are used to make wreaths for males and females.
The tradition is represented no more magnificently that at the Latvian Song and Dance Festivals, held every 5 years (the last in 2013), where these songs are performed by mammoth choruses of 15,000 singers, most dressed in their traditional folk costumes representing their native towns or villages. To see the joy on the faces of the singers is a wonder to behold. You can hear these songs on RUclips, such as “Gaidmas Pils,” (“Castle of Light”), by Jazeps Vitols, one of the most beautiful representations of the Līgo: ruclips.net/video/v8tJCv8hwb0/видео.html
There are many more. Kalniņš himself served as the chief conductor of the sixth Latvian Song Festival in 1926.
The Latvian Song and Dance Festival returns in June 30-July 8 2018, in Riga, which my wife and I plan to attend. For this, I can thank the late Sylvestris Lambergs for bringing the Latvian song tradition into my consciousness. I have often thought how wonderful it would be for the final chorus from “Banuta” to be performed at one of these Festivals. The combination of a 15,000 voice chorus, and orchestra would make an inspiring and thrilling climax to this grand musical event.

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27:58 - 30:52

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Кто поёт?

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32 20 Fināla koris Bet puķes

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26 26 Jau tumsa zūd