The music of Rita Mačiliūnaitė creates an image of natural idyl that is non-existent in reality; the composer says she was pursuing ‘fragility and transparency’, trying to discover the traces of sounds and mark the contours of shadows. Her ‘intuitively born’ works are often assembled from quavering and rustling of strings, blasts of ‘ornithological’ (exotic) woodwinds and onomatopoeic electronic sounds. Similar to many other composers of her generation, the plots of Mačiliūnaitė’s operas are abstract and conceptual, expressing a certain idea (or a complex thereof) rather than a specific life situation.
NOA. New Opera Action - Rita Mačiliūnaitė. Not to be or not to be
Ice. Flame. Jasmines
Since 2014 the composer has been head of the music department at the Russian Drama Theatre in Vilnius; unsurprisingly, her music for theatre receives recognition and awards. She is a winner of the Golden Stage Cross prizes as the best Lithuanian theatre composer of the season – in 2014, for music for the drama, dance and multimedia performances 59’Online, W(o)men, and Eugene Onegin; in 2015, for Sandman; in 2017, for Seven Fridays of the Pharisee Saul, and Code: HAMLET.
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