Roberts's Hansons's Master's thesis "Aspects of musical and scenic realization of 20th century tragical story in opera "Valentina" by Arturs Maskats" is dedicated to the research of new opera by Latvian composer Arturs Maskats (b. 1957). The premiere of the opera on the stage of Latvian National Opera was on December 5, 2014. There was a guest performance at the stage of Deutsche Oper Berlin on May 1, 2015. The main tasks of the thesis are to research whether the opera has musical and scenic consistency as an artwork and whether Valentina deserves further scenic life. Roberts Hansons in his Master's thesis researches the situation of the modern opera in the world, Maskats's Valentina in the context of Latvian operatic heritage. In the thesis the literary background of the opera is observed. The thesis consists of two main parts. First part of research is dedicated to history of creating Valentina. In this part the situation of contemporary operas in the world is observed, Latvian operatic heritage is analyzed and the place of Valentina in this context. The initial idea of composing Valentina is revealed. The short biographic data and the list of main compositions of Arturs Maskats are given for reference. The literary background of the opera and the political and social conditions in Latvia in interwar period are analyzed. Data of the Holocaust in occupied Latvia are given. The creative workshop of Arturs Maskats is studied. The second part of the thesis is the structural and artistic analysis of the opera. The structure of the opera is described, the list of roles is given. The course of the opera is analyzed, characteristics of vocal parts are researched, ranges of voices are given, tessitura and vocal difficulties are revealed. The choirs and ensembles and their operatic purposes are studied. Maskats's orchestral writing is observed and the dynamic balance of the orchestral accompaniment is researched. The problems of the stage design of the performance in Latvian National opera are investigated. There is the chapter of conclusions and recommendations at the end of thesis given. The thesis has 2 appendices: the pictures from the operatic performance in Latvian National Opera and the list of performers of roles, choirs, conductors, stage director and stage designer is given.
Roberts's Hansons's Master's thesis "Aspects of musical and scenic realization of 20th century tragical story in opera "Valentina" by Arturs Maskats" is dedicated to the research of new opera by Latvian composer Arturs Maskats (b. 1957). The premiere of the opera on the stage of Latvian National Opera was on December 5, 2014. There was a guest performance at the stage of Deutsche Oper Berlin on May 1, 2015. The main tasks of the thesis are to research whether the opera has musical and scenic consistency as an artwork and whether Valentina deserves further scenic life. Roberts Hansons in his Master's thesis researches the situation of the modern opera in the world, Maskats's Valentina in the context of Latvian operatic heritage. In the thesis the literary background of the opera is observed. The thesis consists of two main parts. First part of research is dedicated to history of creating Valentina. In this part the situation of contemporary operas in the world is observed, Latvian operatic heritage is analyzed and the place of Valentina in this context. The initial idea of composing Valentina is revealed. The short biographic data and the list of main compositions of Arturs Maskats are given for reference. The literary background of the opera and the political and social conditions in Latvia in interwar period are analyzed. Data of the Holocaust in occupied Latvia are given. The creative workshop of Arturs Maskats is studied. The second part of the thesis is the structural and artistic analysis of the opera. The structure of the opera is described, the list of roles is given. The course of the opera is analyzed, characteristics of vocal parts are researched, ranges of voices are given, tessitura and vocal difficulties are revealed. The choirs and ensembles and their operatic purposes are studied. Maskats's orchestral writing is observed and the dynamic balance of the orchestral accompaniment is researched. The problems of the stage design of the performance in Latvian National opera are investigated. There is the chapter of conclusions and recommendations at the end of thesis given. The thesis has 2 appendices: the pictures from the operatic performance in Latvian National Opera and the list of performers of roles, choirs, conductors, stage director and stage designer is given.
Roberts's Hansons's Master's thesis "Aspects of musical and scenic realization of 20th century tragical story in opera "Valentina" by Arturs Maskats" is dedicated to the research of new opera by Latvian composer Arturs Maskats (b. 1957). The premiere of the opera on the stage of Latvian National Opera was on December 5, 2014. There was a guest performance at the stage of Deutsche Oper Berlin on May 1, 2015. The main tasks of the thesis are to research whether the opera has musical and scenic consistency as an artwork and whether Valentina deserves further scenic life. Roberts Hansons in his Master's thesis researches the situation of the modern opera in the world, Maskats's Valentina in the context of Latvian operatic heritage. In the thesis the literary background of the opera is observed. The thesis consists of two main parts. First part of research is dedicated to history of creating Valentina. In this part the situation of contemporary operas in the world is observed, Latvian operatic heritage is analyzed and the place of Valentina in this context. The initial idea of composing Valentina is revealed. The short biographic data and the list of main compositions of Arturs Maskats are given for reference. The literary background of the opera and the political and social conditions in Latvia in interwar period are analyzed. Data of the Holocaust in occupied Latvia are given. The creative workshop of Arturs Maskats is studied. The second part of the thesis is the structural and artistic analysis of the opera. The structure of the opera is described, the list of roles is given. The course of the opera is analyzed, characteristics of vocal parts are researched, ranges of voices are given, tessitura and vocal difficulties are revealed. The choirs and ensembles and their operatic purposes are studied. Maskats's orchestral writing is observed and the dynamic balance of the orchestral accompaniment is researched. The problems of the stage design of the performance in Latvian National opera are investigated. There is the chapter of conclusions and recommendations at the end of thesis given. The thesis has 2 appendices: the pictures from the operatic performance in Latvian National Opera and the list of performers of roles, choirs, conductors, stage director and stage designer is given.
In 1918-1940. Alytus time authorization methods and systems have their own characteristics. It can be argued that even arose a sort of leisure tradition. In addition to the entertainment and leisure time in this study is specific surveillance angle, through which you can see a new era of public culture, lifestyle, aesthetic, artistic and historical processes. Local culture study helps purify even unnoticed era characteristics. The investigation revealed that in Alytus organized entertainment and leisure in social life, the townsfolk, not least through the events manifested in many different ways and wide. Some attractions offered reflected the era policies - to promote all that is related to the ethnic Lithuanian culture. The survey revealed the theme of the third Alytus early cultural-entertainment spectrum of public space was limited to the higher part of the parish organist and choir activities. This may indicate that the population has been relatively conservative, did not die in large entertainment needs. In the fourth decade of Alytus musical entertainment has broadened the range of a few choirs existed: \"Public choir, small teams of Labour's Irkutsk club Uhlans Regiment choirs and brass band. Looking to Alytus from the state of musical attitudes, Alytus was a province which in rare cases it was possible to enjoy the Republican repertoire - recorded just three cases. It is possible that the types of events in Alytus masiškesnio major obstacle was lack of technical facilities. The city occasionally visited in 1920. established by the State Opera and Drama vaidyklos artists. However, Alytus felt professional opera singers and the drama intense tour in demand as the number of played a different level amateurs. Admire the performances have invited theater collectives \"Žvaigždikis, Art, Vilnius, Alytus interest which enabled the theater world. Dramatic performances broke a very wide range, genres and content for the multiple repertoire, which gives an overview, it is noted that after 1926. December 17. coup government takeover of Nationalists, was presented several performances reflected the current political ideology. Most townsfolk delighted and amazed circus performances, because it rarely occurring on the fun. Granted that this is the largest crowd frenzy over sulaukdavę, favorable reviews in periodicals and long-išlikdavusi Alytus memory. However, the wars Alytus was just growing city, and not large enough population could lead to a rare circus tour. As in Lithuania, Alytus was celebrated three public holidays: Independence Recovery - February 16th, Nation Celebration - September 8th, and the loss of Vilnius Day - October 9th. The analysis of the restoration of independence and the Nation festive celebrations specifics revealed visual effect are based on the impact of a moment city decked nationally flags, garlands, raised by the institutions and residential houses, churches for worship in the evenings - illuminations, warriors, and archers will hold parades. After the official part of the normal vykdavusi cultural program. Both these festivities, and the loss of Vilnius during the day focused on lectures to the general public. October 9th series focused on the literary part, dominated by the Vilnius topics. Revealed that in 1918-1940. Alytus popular leisure activities and entertainment has influenced era policies - to promote all that is related to the ethnic Lithuanian culture. Leisure activities were adapted city garden, the whole family has become the center of attraction, display national thought films to build drama, organized festivals that celebrate the nation's past. Musical and literary evenings driven cognitive goals, they advocated Lithuanian identity. It became clear that it was not only compatible 'frivolous' amusement, but also deeper, more meaningful - traditional - objectives.
In 1918-1940. Alytus time authorization methods and systems have their own characteristics. It can be argued that even arose a sort of leisure tradition. In addition to the entertainment and leisure time in this study is specific surveillance angle, through which you can see a new era of public culture, lifestyle, aesthetic, artistic and historical processes. Local culture study helps purify even unnoticed era characteristics. The investigation revealed that in Alytus organized entertainment and leisure in social life, the townsfolk, not least through the events manifested in many different ways and wide. Some attractions offered reflected the era policies - to promote all that is related to the ethnic Lithuanian culture. The survey revealed the theme of the third Alytus early cultural-entertainment spectrum of public space was limited to the higher part of the parish organist and choir activities. This may indicate that the population has been relatively conservative, did not die in large entertainment needs. In the fourth decade of Alytus musical entertainment has broadened the range of a few choirs existed: \"Public choir, small teams of Labour's Irkutsk club Uhlans Regiment choirs and brass band. Looking to Alytus from the state of musical attitudes, Alytus was a province which in rare cases it was possible to enjoy the Republican repertoire - recorded just three cases. It is possible that the types of events in Alytus masiškesnio major obstacle was lack of technical facilities. The city occasionally visited in 1920. established by the State Opera and Drama vaidyklos artists. However, Alytus felt professional opera singers and the drama intense tour in demand as the number of played a different level amateurs. Admire the performances have invited theater collectives \"Žvaigždikis, Art, Vilnius, Alytus interest which enabled the theater world. Dramatic performances broke a very wide range, genres and content for the multiple repertoire, which gives an overview, it is noted that after 1926. December 17. coup government takeover of Nationalists, was presented several performances reflected the current political ideology. Most townsfolk delighted and amazed circus performances, because it rarely occurring on the fun. Granted that this is the largest crowd frenzy over sulaukdavę, favorable reviews in periodicals and long-išlikdavusi Alytus memory. However, the wars Alytus was just growing city, and not large enough population could lead to a rare circus tour. As in Lithuania, Alytus was celebrated three public holidays: Independence Recovery - February 16th, Nation Celebration - September 8th, and the loss of Vilnius Day - October 9th. The analysis of the restoration of independence and the Nation festive celebrations specifics revealed visual effect are based on the impact of a moment city decked nationally flags, garlands, raised by the institutions and residential houses, churches for worship in the evenings - illuminations, warriors, and archers will hold parades. After the official part of the normal vykdavusi cultural program. Both these festivities, and the loss of Vilnius during the day focused on lectures to the general public. October 9th series focused on the literary part, dominated by the Vilnius topics. Revealed that in 1918-1940. Alytus popular leisure activities and entertainment has influenced era policies - to promote all that is related to the ethnic Lithuanian culture. Leisure activities were adapted city garden, the whole family has become the center of attraction, display national thought films to build drama, organized festivals that celebrate the nation's past. Musical and literary evenings driven cognitive goals, they advocated Lithuanian identity. It became clear that it was not only compatible 'frivolous' amusement, but also deeper, more meaningful - traditional - objectives.
Trumpai apžvelgus UNESCO apibrėžtas skirtingas paveldo tipologijas, dėmesys skiriamas įvairioms kul- tūros vertybėms, kurios, nors ir nepriskiriamos "pagrindinėms" paveldo kategorijoms, simbolizuoja reikšmingą paveldo turtą, siūlantį, be savo įprastos paskirties, daugybę galimybių, kaip jį būtų galima pritaikyti "netradi- cinėms" pridėtinę vertę kuriančioms paslaugoms. Įžanginiame skyriuje pateikiami pavyzdžiai, iliustruojantys netradicinį kultūros paveldą: istorinis maršrutas "Rytų ekspresas", mėlynasis tramvajus Tramvia Blau ar funi- kulierius Tibidabo Funicular Barselonoje; parkai, sodai ir žaliosios erdvės kaip išskirtinių renginių vietos; ypa- tingos ar nykstančios augalijos ir gyvūnijos buveinės; istoriniai piligrimų keliai Via Francigena, El Camino de Santiago de Compostela ir Camí de Cel de Barcelona; Italijos asociacijos Italian Alpine Club (CAI) organizuo- jami Dolomitų kelias ir kalnų žygiai; kruizai, istoriškai reikšmingi komerciniai ir kariniai maršrutai, pavyzdžiui, Viduržemio jūros ir Baltijos jūros turai, maršrutai į Indiją; tradiciniai šou, koncertai, operos, muzikos / šokių renginiai ir ritualai; sausumos ir jūros augalija bei gyvūnija, kuriai gresia išnykimo pavojus; pajūrio ir pakrančių paveldas, pavyzdžiui, švyturiai, istoriniai uostai ir pan. Daugelyje Europos šalių "kultūros paveldui" gali būti priskiriami ir artefaktai, žmonių atrasti daugiau nei prieš 50 metų. Taigi į paveldo apsaugą gali pretenduoti daug įvairių objektų – nuo pirmojo bakelitinio radijo imtuvo ir pokarinių automobilių iki elektroninės kompiuterių įrangos ir dizaino kūrinių. Jeigu etno- gra nės kolekcijos, daug kartų žiūrėtos kino juostos ir TV įrašai taip pat vertinami kaip papildomi elemen- tai (saugomi jau beveik 60 metų), tuomet visa tai sudaro nepakeičiamą ir saugotiną informacijos "šaltinį", kurį dera perduoti ateinančioms kartoms. Be materialiojo paveldo, derėtų saugoti ir nematerialųjį paveldą, pavyzdžiui, muziką, šokius, ritualus, pasakas ir pan., taip pat naujausią, bet ne mažiau svarbų "ateities" pa- veldą. Apsidairius aplink XXI a. ateities muziejus kuratoriaus akimis, gali iškilti pagrįstas klausimas: "Ar ateities kartos, net ir artimos ateities kartos, sugebės suprasti dabartinės kartos kuriamą turinį?" Trumpai panagrinėjus milžiniškus ir įvairialypius paveldo klodus galima užduoti vieną svarbiausių klausimų: "Kaip užtikrinti tinkamą paveldo naudojimą, valorizaciją ir valdymą?" Nepakanka vien tik vadovautis esamu scenarijumi. Būtina pasirengti susitikti su ateities paveldu, galinčiu tapti tikru iššūkiu būsimiems kolekcio- nieriams ar kuratoriams. Paveldas turi daugybę funkcijų ir daugybę vertybių, tad verta gerai ištyrinėti šiuos daugiamačius ir turtingus klodus, kad būtų galima pasinaudoti visais jų teikiamais privalumais. Šiai už- duočiai veiksmingai ir kokybiškai atlikti yra būtina metodologija. "Verčių" požiūrio taikymas analizuojant paveldą galėtų prisidėti sprendžiant problemas ir užtikrintai pagrįsti paveldo išsaugojimo, apsaugos ir val- dymo strategijos apibrėžimą. Šis straipsnis supažindina su logišku požiūriu, nustatant ir grupuojant platų paveldui priskiriamų vertybių spektrą. Nuodugniai išanalizavus vertybes (pradedant nuo akivaizdžiausių), nustatomos naujos vertybės, kurios yra (tiesiogiai) susijusios su inovacijomis ir technologijomis. Vertybių, kurias galima priskirti kultūros paveldui, kiekis didėja, daugėjant suinteresuotųjų šalių, kurios laikomos paveldo naudojimo, konservavimo ir valdymo proceso dalyvėmis. Priimant su paveldu susijusius spren- dimus ir reaguojant į skirtingų suinteresuotųjų šalių poreikius, šių vertybių apibrėžimas yra lemiamas iš esmės dėl to, kad šios vertybės padeda nustatyti konkrečios teritorijos patrauklumo lygį. Kultūros paveldo samprata remiasi įvairialype paklausa, kurią būtina atpažinti visose sudėtinėse kultūros paveldo dalyse, norint nuodugniai ištyrinėti vertybių klodus, kuriuos (kaip bus pristatoma toliau) riboja skirtingi diferen- cijuotos paklausos poreikiai. Norint pasiekti šį tikslą reikia apibrėžti įrankius bei metodus, padėsiančius nustatyti ir vertinti kultūros paveldą atsižvelgiant į skirtingas jam priskiriamų vertybių perspektyvas. Kie- kviena konkreti vertybė išsamiai aprašoma, kad būtų lengviau atlikti atskiro atvejo analizę. Nepaisant visų nukrypimų, plačiąja prasme aiškinama Europos kultūros paveldo idėja perteikia šias vertybes: istorines, atminties, pilietybės, civilizacijos, pripažinimo, tradicijų, meno, mokslo, konservavimo ir technologines. Suvokti vertybių ir kitų skirtingų dalių esmę yra įmanoma pripažįstant ir veiksmingai naudojant mūsų palikimą, vertinant jį kaip sistemą sąveikų tarp įvairių aspektų: paveldo tipologijos (gamtinės, kultūrinės, . nematerialios, . ateities); daugybės "verčių" (ekonominių, investicijų grąžos, socialinių, kultūrinių, išskirtinumo / unikalu- mo ir pan.); geogra nių ypatumų (vertingumo vietinių požiūriu, nacionalinių, regioninių, globalinių, daugiau- sia nevietinių ir pan.); potencialių naudotojų / galutinių naudotojų (ekspertų, specialistų, kolekcionierių, verslininkų, miesto gyventojų, tyrėjų, bendruomenės narių ir pan.). Didžioji dalis šių vertybių yra "potencialios"; kartais nėra galimybių ar poreikio nustatyti jų piniginę išraišką. Daugeliu atvejų išlaidas dengiantis subjektas nėra tas, kuris daug uždirba iš kultūros paveldo "naudojimo", čia susiduriama su savotišku asimetrinės rinkos modeliu. Visuomenės reikmėms skirto kul- tūros paveldo atveju "verčių" "rezultatais" dalijasi skirtingi vertybių grandinės dalyviai, o kultūros paveldą prižiūrinti valstybinė institucija tarp jų būna ne visada. Kartais visas vertybių spektras neatrodo akivaizdus (bent jau) vadovams arba nemanoma, kad būtų tinkama ar "išmintinga" šiomis vertybėmis pasinaudoti. Tokių vertybių naudojimas nebūtinai turi kelti pavojų mūsų paveldui – kultūros vertybės nesivaržo tar- pusavyje, išmintingai jas naudojant, jos nebus "suvartotos". Netgi priešingai, aiškiai apibrėžus vertybių "vertę", jas būtų lengviau atpažinti ir apsaugoti, suformuluojant bazines sąlygas jų tinkamam naudojimui užtikrinti. Toks scenarijus atrodo kaip visiems naudingas susitarimas: miesto gyventojai gali pasinaudoti visais efektyvaus paveldo naudojimo teikiamais privalumais, o suinteresuotosios šalys – džiaugtis didesniu matomu ir išaugusiomis pajamomis. Sėkmingai įdiegtoje sistemoje būtų numatytas struktūrinis vertinimo procesas, atsižvelgiantis ir į speci nes vertinimo procedūras bei rodiklius, ir į ekspertus, prisidedančius prie šios blokinės schemos kūrimo. Daugeliu atvejų šios vertybės iliustruoja, kaip įgyvendinami lankytojų ir naudotojų lūkesčiai. Raktiniai žodžiai: kultūros paveldas, ateities paveldas, išmanusis paveldas, netradicinės kultūros vertybės, paveldo vertinimas, paveldo valdymas. ; Starting from a quick overview of the di erent typologies of heritage as de ned by UNESCO, the focus is made on a wide range of cultural assets that, even not classi ed the 'main' heritage families, represent, however, a relevant heritage asset that apart from the typical use o ers great opportunities to be suitable for 'unconventional' added value services. The introduction provides a selection of examples concerning unconventional cultural assets such as the historical trans- portation means Orient Express, Tramvia Blau or the Tibidabo Funicular in Barcelona; parks, gardens and green areas as scenarios of particular events or peculiar or extinct habitats of ora and fauna; historic itineraries such as via Francigena, El Camino de Santiago de Compostela and the Camí de Cel de Barcelona; the Dolomites and mountain hiking trails of the Italian Alpine Club (CAI); cruises, commercial and military routes important in history such as Mediterranean and Baltic routes, routes to India; traditional shows, concerts, opera, music/dances and rituals; land and marine ora and fauna considered to be at risk of extinction; maritime-coastal heritage such as lighthouses, historical harbours, etc. In many European countries, artefacts realised by human beings more than fty years ago are also considered potential 'Cultural Heritage'. Therefore, a variety of objects might be enlis- ted for protection such as the rst bakelite radio-set, post-war period cars, the early electronic computer equipment and design products. Furthermore, if ethnographic collections, many times movies and TV recordings are considered the complement pictures (that have already been pro- tected for almost sixty years), all of them constitute an irreplaceable 'source' of information to be protected and handed down to posterity. In addition to the tangible heritage, the intangible heritage such as music, dances, rituals, tales, etc. and last but not least the 'future' heritage should be preserved. If we look around in the shoes of a curator of a future museum of the 21st c., it is reasonable to ask ourselves 'Will future generations, even those of the near future, be able to access the content produced by this generation?' Having brie y explored the vast and heteroge- neous universe of heritage, one of the key questions posed to ourselves is 'How can we ensure a proper use, valorisation and management of it?' Along with the current scenario, we should be ready to deal with the future heritage that may represent a real challenge for future collectors or curators. As the heritage represents a multi-function and multi-value domain, there is a need to explore this multidimensional space in order to fully bene t from its richness. Thus, a metho- 129 130 dology enabling to complete the task in an e cient and productive way is required. Application of the 'value' approach in analysing heritage may contribute to solving the problem and provide a valid support in de ning a strategy to preserve, promote and manage it. The present paper outlines the logical approach for identi cation and clustering of the broad range of the values associated with the heritage. The in-depth analysis of values, starting from the more evident ones, leads to identi cation of a set of new values due to or directly connected with innovation and technologies. The plurality of values that can be associated with a cultural asset widens with the variety of stakeholders considered to participate in the process of heritage use, conservation and management. Establishing the values upon making decisions about the heritage and there- fore meeting the needs of di erent stakeholders is crucial, mainly due to the reason that such values contribute to identi cation of the degree of attractiveness of a given territory. The cultural heritage should be considered a system based on the heterogeneous demand to be recognised in its many components in order to investigate the value space throughout its extension that, as it will be outlined later, is delimited by di erent needs of the di erentiated demand; in order to do this, we need to identify and de ne tools and methods of measuring and evaluating the cultural heritage in the di erent perspectives of the value attributable to it. Each speci c value is outlined in detail to facilitate the implementation of the approach to a single case study. The concept of the European cultural heritage, interpreted in the broad sense and with all its declinations, is the bearer of a multitude of values: historical value, testimony, citizenship, civilization, recognition, traditions, artistic, scienti c, conservation and technology. The matter of values and the other di erent elements actively contributing to the overall appreciation and fruitful exploitation of our legacy might be considered a complex of interactions among the following di erent aspects: • Heritage typology (natural, cultural,. intangible,. future) • Wide set of 'values' (economic value, return of investment, social, cultural, exceptionality/uniquely, etc.) • Geographic range (valuable for locals, national, regional, global, non-local mainly, etc.) • Potential users/end users (experts, specialists, collectors, businessmen, citizens, researchers, community members, etc.) Major parts of these values are 'potential'; sometimes there is no chance or need to monetize them. It happens frequently that the one who covers the expenses is not the one who earns much money from the 'use' of the cultural asset, i.e. a kind of asymmetric market model is observed. In case of public cul- tural assets, the 'e ects' of the 'values' are shared among di erent actors in the value-chain, sometimes not including the public body looking after the cultural assets at all. Moreover, sometimes the full set of values is not evident at least to the managers or it is not considered proper or 'wise' to take advantage of them. The exploitation of such values will not necessarily jeopardize our heritage, cultural assets are not rivalling and a wise exploitation will not 'consume' them. On the contrary, a clear identi cation of their 'values' will help to identify and protect them developing the basic conditions to ensure a proper exploitation. Such a scenario looks like a win-win agreement: citizens may bene t from the fruitful exploitation of their own heritage, whereas stakeholders may bene t from enhanced visibility and inco- mes. The full implementation of the system foresees a structured evaluation process taking into account both speci c evaluation procedures, metrics and a network of experts providing their contribution in a kind of block chain architecture. In most cases, these values represent the ful lment of the present expectations of visitors and users. Keywords: Cultural heritage, future heritage, smart heritage, unconventional cultural assets, heritage valorisation, heritage management.
