Baņuta

Fighting as a partisan in the mythical Baltic past and in wars in 20th century Eastern Europe at the same time, Baņuta’s life is saved by weary and disenchanted Lithuanian prince, Daumants. Speeding away on a motorcycle, he brings the fighter back to his homeland in Romove, a holy Baltic site. There is about to be a wedding, but the preparations are interrupted by ravens. Their black feathers are a mirror for Daumants’ conscience and act as a reminder of his crime against Jargala, a girl he raped and killed. Soon Daumants falls in battle, and being a stranger in Romove, Baņuta is caught up in sacrificial rituals and revenge. However, she is strong-willed and will not bow to fate – no one will take her happiness away. A hundred years after the premiere of Alfrēds Kalniņš’ first Latvian opera Baņuta in 1920, comes the opera film Baņuta – an international project that melds opera, musical performances, the conditionality of the performing arts and contemporary performativity. Fighting as a partisan in the mythical Baltic past and in wars in 20th century Eastern Europe at the same time, Baņuta’s life is saved by weary and disenchanted Lithuanian prince, Daumants. Speeding away on a motorcycle, he brings the fighter back to his homeland in Romove, a holy Baltic site. There is about to be a wedding, but the preparations are interrupted by ravens. Their black feathers are a mirror for Daumants’ conscience and act as a reminder of his crime against Jargala, a girl he raped and killed. Soon Daumants falls in battle, and being a stranger in Romove, Baņuta is caught up in sacrificial rituals and revenge. However, she is strong-willed and will not bow to fate – no one will take her happiness away. A hundred years after the premiere of Alfrēds Kalniņš’ first Latvian opera Baņuta in 1920, comes the opera film Baņuta – an international project that melds opera, musical performances, the conditionality of the performing arts and contemporary performativity. Fighting as a partisan in the mythical Baltic past and in wars in 20th century Eastern Europe at the same time, Baņuta’s life is saved by weary and disenchanted Lithuanian prince, Daumants. Speeding away on a motorcycle, he brings the fighter back to his homeland in Romove, a holy Baltic site. There is about to be a wedding, but the preparations are interrupted by ravens. Their black feathers are a mirror for Daumants’ conscience and act as a reminder of his crime against Jargala, a girl he raped and killed. Soon Daumants falls in battle, and being a stranger in Romove, Baņuta is caught up in sacrificial rituals and revenge. However, she is strong-willed and will not bow to fate – no one will take her happiness away. A hundred years after the premiere of Alfrēds Kalniņš’ first Latvian opera Baņuta in 1920, comes the opera film Baņuta – an international project that melds opera, musical performances, the conditionality of the performing arts and contemporary performativity. Fighting as a partisan in the mythical Baltic past and in wars in 20th century Eastern Europe at the same time, Baņuta’s life is saved by weary and disenchanted Lithuanian prince, Daumants. Speeding away on a motorcycle, he brings the fighter back to his homeland in Romove, a holy Baltic site. There is about to be a wedding, but the preparations are interrupted by ravens. Their black feathers are a mirror for Daumants’ conscience and act as a reminder of his crime against Jargala, a girl he raped and killed. Soon Daumants falls in battle, and being a stranger in Romove, Baņuta is caught up in sacrificial rituals and revenge. However, she is strong-willed and will not bow to fate – no one will take her happiness away. A hundred years after the premiere of Alfrēds Kalniņš’ first Latvian opera Baņuta in 1920, comes the opera film Baņuta – an international project that melds opera, musical performances, the conditionality of the performing arts and contemporary performativity.