The longest day of the festival was October 25. The first concert began at three in the afternoon and the last note was played at about 3:45 in the morning. The concert by the Lithuanian National Philharmonic included music by Joji Yuasa (Japan), Oscar Carmona (Chile), and Vytautas V. Jurgutis (Lithuania), the latter of which added his own electronic work to Ligeti's Atmospheres. John Adams' Century Rolls was also on the program, and expectedly so, since minimalism, with certain of its characteristics likened to the canonical folk songs sutartinės, holds a special place in modern Lithuanian music.
The following concert, which began at 9:30pm and lasted until 3:45 in the morning, was entitled Procession, and featured both music and food from around the world. Two American composers, Ashley Fure and David Coll, both had works on the program, and Coll gave a spirited presentation at the Academy the morning he headed back to the U.S.
Back-to-back concerts by the Ensemble Modern and the Cello Octet Amsterdam, a Spanish-Dutch group, made for an exceptionally impressive evening. Onutė Narbutaitė wrote works in honor of All Saints Day weekend, and Sunday featured the same work sung simultaneously in at least seven different churches throughout the Old Town (see right). The Strasbourg Percussion gave the premiere of a work by my teacher, Osvaldas Balakauskas, and the group was perhaps most intriguing due to sheer amount of equipment (see left) and noise sharing the stage. The Sound Cube project, hatched at the Center for Art and Media (ZKM) in Karlsruhe, brought a 40-speaker (give or take) surround system and sound engineers from Germany to the Great Hall of the Lithuanian Radio and Television. There was a concert dedicated almost entirely, with the exception of Lithuanian minimalist Rytis Mažulis' music, to the works of fluxus pioneer Jurgis "George" Mačiūnas (check out his Piano Piece No. 13).... and it was packed.
Most relevant to this blog was the sold-out Lithuanian premiere of Peter Eötvös' new opera, Love and Other Demons, based on the book by Gabriel García Márquez. Here I must credit my friends from the Academy for knowing how to get into a sold-out concert, for without them, I would never have seen it. You may think that sneaking into an opera performance sounds a little anachronistic today, but there was, after all, a great deal of nudity. In fact, the lead character of the opera, Sierva Maria, spends most of Act II in her birthday suit. I imagine performance anxiety becomes a non-issue after singing the most tragic aria of the opera "in the raw." As for the music itself, this review is generally positive and reflects many of my opinions. I don't have any pictures from the performance, but the picture to the right was taken during intermission in the Soviet-era National Opera and Ballet Theater, famous for its many chandeliers.
I mentioned less than half of all the concerts I attended, and while I enjoyed (almost) every minute of the festival, I can't include everything here. This was the first such festival I have been lucky enough to attend, and like a 21 year-old on his birthday, I simply overindulged. Someone asked me this morning what I thought of a specific piece on one of earlier concerts of the festival. I responded, "I don't remember. I think I heard too much."