Contratenor

Sergejs Jēgers

Cantor

Artist

Approved

2009

2008

2007

2005

2004

Individual contributor id

include virtual contributors

Accordionist

Instrumentista

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Continuo

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Ator

Broadcasting

Cenógrafo

Chefdirigent Musiktheater

Chorus Director

Compositor

Coral

Coreógrafo

Dançarino

Designer de Iluminação

Designer de Som

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Diretor de Palco

Dramaturgo

Estilista

Estilista de cabelo

Extra

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Maestro

Maquiador

Mestre de Coro

Orchestra Operations

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Poet

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Repetidor

Stage Manager

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Wig & Makeup Designer

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Writing and performance

Barítono

Baixo

Contralto

Mezzo-soprano

Tenor

Soprano

Baixo-barítono

Alto

Silent

Spoken

Vocalista Infantil

In the 19th century Anton Rubinstein (1829 -1894) was referred to as the outstanding piano virtuoso amongst the composers of the time and the most outstanding composer amongst the piano virtuosos of the time. In Riga, Rubinstein performend since the age of 15. The total number of concerts given in Riga also reaching 15, he elicited immense admiration inhis listenersand earned his nickname Anton-the-first-in-the-field-of-piano. In his concert of 29 January 1880, during his last visit to Riga, he won the audiences acclaim by also performing ballet music fragments from his most successful opera „The Demon". Eyewitnesses found difficult to describe the exaltation generated by Anton Rubinsteins apperarances in Riga. 

The Stage Director Andrejs Žagars, Conductor Normunds Vaicis, Set and Costume Designer Ieva Kauliņa and Lighting Designer Reinhard Bichsel are presenting a new production of this significant work of Russian romantic music, so frequently staged previosly.

One of the reasons for reverting to Anton Rubinsteins „The Demon", is to be found in the necessity to enrich the operas basic repertoire with works that allow us to have a more comprehensive and thorough insight into the nature of the lost time and the era or Romanticism. The second reason is quite simple and relevant to universal subjects, i.e. „The Demon" is a story about passion, solitude of the soul and the last desperate attempt to love. This is a message about the struggle of good and evil that has taken place and continues to take place in a world populated by people and spirits.

Andrejs Žagars: „For instance, I wouldnt like the main character to appear something like a monster flying on a cable, in an exaggerated costume, like an alien from the other world. I will try to approximate his psycho-physical expressions, his image with other characters. He will probably be the distinguished only by his movements of reactions."

Sergejs Jēgers

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