Gidon Kremer and Kremerata Baltica in Latvia

As the Asia tour comes to an end, Kremerata Baltica and Gidon Kremer return to Latvia with 2 concerts: Rīga (07.06) and Cēsis (09.06).

June 7: Opening concert of the Riga Festival at the Great Guild Hall of Latvia. The special guest of the evening: mezzo-soprano Olesya Petrova. A world premiere of the piece “Latvian Seasons” by the young Latvian composer Jēkabs Jančevkis that has been dedicated to the 20th Anniversary of Kremerata Baltica. You will also be able to hear “Russian Seasons” by L.Desjatnikov, and a special audiovisual project “Images of the East”.

June 9: concert at Vidzeme concert hall “Cēsis” with a special program “Homage a Orfee” including poetry fragments. In the concert Kremerata Baltica will perform together with its artistic director, violinist Gidon Kremer, pianist Lucas Debargue, mezzo-soprano Inga Kalna, actress Guna Zariņa, oboist Justė Gelgotaitė and the youth choir “Kamēr” (conductor Jānis Liepiņš). Program: world premiere of a piece by Lucas Debargue, works by G.Pelēcis, P.Glass, F.Schubert, and G.P.Telemann.

Images of the East. Focused on and around “Pictures from the East” by Robert Schumann, this new program offers an unusual encounter with the works of Nizar Ali Badr, a Syrian sculptor who has been enthusiastically discussed across the social platforms in recent months. Short audio-visual inserts placed between the movements of Schumann’s composition serve as contrasting pictures from the east. According to the Syrian sculptor his unique language of pebble sculptures should “spread happiness and love amid war, destruction, death, migration, exodus, chaos, poverty and injustice”. Mr Badr hopes that “this war will end soon, and that the killing will stop”.

In the meantime freed Spanish journalist Ángel Sastre compares the war in Syria with a dead-end tunnel: “I identify very much with the Syrian people and am ashamed of the position taken by western countries who only talk about Syria when they see their own welfare threatened by the mass arrival of refugees. Being realistic, there seems to be no happy ending in sight for Syria. It’s a dead-end.”

Every time a stone sculpture is finished, it has to be destroyed, because fixing stones with special glue on special supports has become unaffordable in present Syria. While creating a stone sculpture, the artist knows with certainty that there is nothing there to hold it together and that all of his works will undoubtedly be destroyed in time, just like the sand mandalas. Trough this inherent ephemerality Mr Badr’s work implies the capacity to confront the temporal nature of life.
An interview with the Syrian artist Nizar Ali Badr here