Rock opera in 3 acts, written after the leit-motifs of “Chronicle of Henricus, the Lett” and other historical sources. English version of it is in manuscript, translated by Margita Gailītis.
Annotation:
22 male roles (5 leads) + 8 female roles; several dozen minor parts. The play is poetic epic based on a historic 13th century chronicle. Using as starting point the ideological position of the Crusades as elaborated by actual historical characters such as Bishop Albert and the Chronicle Henricus, the play touches upon issues of great relevance today. The religious fanaticism of the Crusades, with its economic and political subtext, has dramatic parallels in the Ireland, Palestine and Afghanistan of today. The rock opera with its wonderful cast of diverse and colourful characters musically addresses many vital questions – questions of conscience, of a maternal versus paternal society or the ideal blending of two. Questions of survival of individual, a tribe and its culture, nation. But above all, why, in the name of God.. From various vantage points, one of the most crucial of historic questions is sung out, played out, cried out, screamed out – was this a good deed pleasing to God or was it a foul deed, the work of the devil. The author responds that life must continue and the child conceived through the rape of s tribal ruler’s daughter has to be born because “..the babe will be of war. Almost, almost – as is from the Holy Ghost”.
Rock opera is staged in the Latvian National Theatre.
Premiere - October 7, 2000.
Composer - Janis Lusens
Director - Edmunds Freibergs
Fragment: Act 1
Scene 5
HENRICUS in a confessional
Father, I have sinned.
Father, I have dreamt
of a woman.
a lover, a wife… God, I promised to be chaste. Father, I have sinned.
Father, I have dreamt
of a woman,
a lover, a wife… This land has a woman’s face.
This land has a woman’s smell.
And the word for bread and home and life,
even for death – for the Letts – is female! This land has the strength of a woman.
It burns like a sacrificial pyre.
And the word for a flame and daybreak and a star,
even for freedom – for the Letts – is female. This land has a woman’s smile
like a mother’s standing at a cradle.
And the word for light and dawn and a song,
even for fortune – for the Letts - is female. God! Father! Cross! And war!
Sin! All are masculine.
I have dreamt
of a woman,
a lover, a wife. Has this – being still chaste – broken my vow? Father, I have sinned.
Father I have transgressed.
Even the sun that rises
is a woman for me. Even the sun that sets
is a woman for me.
This land seems to me
a woman.
Father, I have transgressed. Scene 6
A theatre performance in the Riga market square. The newly built Bishop’s castle and the Order’s courtyard can be seen. There is a raised platform serving as a primitive stage. The performance has been organised by the German priests, in order to teach the newly christened and non-christened stories from the Bible. Crusaders and merchants, the local folk and foreigners, in other words – a motley public have come to view the performance. For some it is entertainment, for others, a sacred ceremony. Henricus serves as a sort of director here. The public slowly separates into two groups – each on their own side of the stage. HENRICUS Look, folks, at the moving pictures!
Listen, folks, to the moving speeches!
Open your hearts to the words of the wise,
what the Scriptures have to tell you! The actors playing “Solomon” and “God” enter, as well as the chorus and the lute player, who, playing his lute, is accompanying these scenes. The action is naively illustrative. ACTORS Once upon a time, Solomon, David’s son
was praying to God and making a sacrifice to Him.
And God said: “GOD” … Tell me, be bold, what it is you want. “SOLOMON” I, Solomon, son of David,
beg You – grant me a wise and understanding heart. ACTORS And God said… “GOD” … I give you what you have asked. Tell me Solomon, son of David.
What else do you want to ask of me?
Possessions or fame or honour?
What else do you want Solomon? “SOLOMON” I, Solomon, son of David, only beg
one thing of you – grant me a wise and understanding heart
I do not want, I do not need
possessions or fame or honour. “Solomon” is made to sit on a throne, given a magnificent mantle and a ruler’s sceptre, at his feet kneel women, behind him stand servants and guards. Two women - the “first woman” and the “second woman” - are fighting over a child. ACTORS Once upon a time two women came.
They had with them a child.
One of them said – FIRST WOMAN … he is mine! ACTORS The other said – SECOND WOMAN …he is mine! ACTORS They both said – BOTH WOMEN … mine! HENRICUS Yes, whose is the child? FIRST WOMAN Your child died yesterday.
But mine lived! SECOND WOMAN No, your child died yesterday.
But mine lived!
FIRST WOMAN You took my child
Because your child died! SECOND WOMAN You stole my child!
It was yours that died! ACTORS Thus spoke the two women.
They had with them a child.
The one said – FIRST WOMAN … he is mine! ACTORS The other said – SECOND WOMAN …he is mine! ACTORS They both said – BOTH WOMEN … mine! HENRICUS talking to the public
Yes, whose is the child? PUBLIC Hers, hers! Leave off!
No, hers! That’s right! What!
That one’s! Hers! Don’t push!
No, hers! That one there! Yes! Yes!
Etc. “SOLOMON” Bring me a sharp sword!
Divide him in two!
Let each take her half
and go home! Bring me a sharp sword!
Divide him in two!
Let each take her half
and go home! ACTORS And then thus spoke one woman – FIRST WOMAN Sir, your decision is just.
Because I tell you – he is mine.
Because I tell you – he is mine.
Because I tell you – he is mine! ACTORS Yes, whose is the child?
Thus spoke the other woman – SECOND WOMAN Sir, have pity for the babe!
Because I tell you – he’s not mine.
Because I tell you – he’s not mine.
Just have pity for the babe! ACTORS Yes, whose is the child? “SOLOMON” To the other woman.
Woman, take your babe.
I know now – it’s yours. There is nothing dearer
to you than this little life. There is nothing dearer
to you than this little life. ACTORS And thus spoke Solomon! The performance ends to applause and whistles. The actors bow, the “women” turn out to be men. Acrobatic performances and tricks follow, erasing the former seriousness and culminating in mad rejoicing.
Scene 7
The Livs of Salaspils with their ruler Ako. The Livs – women and men – have been formally baptised, as evidenced by the crosses worn by many. The bank of the River Daugava. The Livs believe in the possibility through ritual of washing off the Christian faith by water. AKO Aee, brothers, Liv blood is being spilled.
The tears on our cheeks shall never dry. Aee, brothers, the Liv sun is setting
Aee, our Mother Sea departs. She doesn’t like this angry God
to whom some Livs have flown,
who speaks as sweetly as a dove
but stings like a snake in the grass. LIV CHORUS His sword does not wound us
as wounds the cross. His sword does not pierce us
as pierces the cross. The sword does not divide us
as divides the cross! A LIV Brothers, it can still unite us!
Brothers, it still can unite us!
This plea however is not heeded. LIV CHORUS Shed the foreign faith!
Wash it away!
Minā une līvli!
Minā une līvli! AKO Aee, our Mother Sea is leaving.
Aee, do not let her go!
Like an eel sliding through sea grasses
the soul of the Livs slips away.
AKO AND THE
GROUP OF WOMEN And the daughters of Mother Sea –
Rivers Rīdze, Gauja and Daugava –
carry the waves like a heavy burden -
handmaidens of foreign masters. LIV CHORUS The sword does not wound us
as wounds the cross. The sword does not pierce us
as pierces the cross The sword does not divide us
as divides the cross! A LIV Brothers, it still can unite us!
Brothers, it still can unite us!
The plea earns an unfavourable reaction. MENS’ GROUP Shed the foreign faith!
Wash it away!
Minā une līvli!
Minā une līvli! AKO Aee, brothers, Liv blood is being spilled.
The tears on our cheeks shall never dry.
Aee, brothers, the Liv sun is setting
Aee, our Mother Sea is departing. Still at the centre the sea mill churns.
Come, Mother Sea, return to us!
With you the soul of the Livs slips away
like an eel among sea grasses. The Livs wade into the River Daugava, in order to wash off the Christian faith. Crusaders appear and attack the Livs. A battle ensues. Almost all the men are killed and the women are put in chains. Also some Crusaders are killed. The last to remain alive and still fighting is Ako. The Crusaders finally overpower him and cut off his head. Scene 8
A service in Bishop Albert’s church in Riga. The Bishop’s Knights, Crusaders, monks, burghers, Henricus and Theodorich.
ALBERT In the name of God the Father and the Son and the Holy Ghost. ALL Amen. ALBERT Dominus vobiscum. ALL Et cum spiritu tuo. ALBERT Sursum corda. ALL Habemus ad Dominum. ALBERT Gratias agamus Domino Deo nostro. ALL Dignum et iustum est.
ALBERT Radiant, inspired.
One Lord and one faith –
is the only hope for this land.
My greatest joy shall be
to give this as a gift to you Saint Mary.
ALL Terra Marianna! Terra Marianna!
Terra Marianna! A group of Crusaders enter with the head of Ako on a silver platter which is decorated with flowers. The mood is aggressive, seething with energy.
KONRAD, So this prayer be more joyful,
HARBERT, we have one more gift!
DANIEL A sign that all of Livland
has been christened.
HENRICUS Ako! CHORUS outcries
Ako! Ako! KONRAD, Like a dog returning to his vomit,
HARBERT, he has returned to his pagans!
DANIEL Now death is a lesson to them. HENRICUS Ako! CHORUS outcries
Ako! Ako! KONRAD, So this prayer may be more joyful,
HARBERT, we have one more gift!
DANIEL A sign that all of Livland
has been christened. ALL Terra Marianna! Terra Marianna!
Terra Marianna! ALBERT Takes the gift of Ako’s head. It is heavy not only literally but also metaphorically. Albert very deeply feels the contradiction in the situation, and that makes him change the tone of his voice. Grim and despairing. One Lord and one faith –
this is my mission in life.
Here is Liv land as a gift
for you, most holy Saint Mary... He stays on his knees in front of the image of Madonna, holding Ako’s head. | 
