Standing out among the array of cultural programs, the opera and theater typology is often understood as encompassing the luxurious and elitist spirit of a bourgeois society focused on entertainment. Across the Soviet Union, this represented the opposite of the principles to be promoted. However, despite the opposition of the political class, the program remained widely popular. As the historical structures, symbols of the previous regime could no longer be promoted, the search began for a new image of the Opera House, one aligned with Socialist ideals and the concept of "art belonging to the masses."
This is the case of Soviet Lithuania, which, in the 1940s, began the process of developing a new Opera and Ballet Theater in Vilnius to replace the theatre in Pohulianka. The process resulted in an unusual commission, as young architect Elena Nijolė Bučiūtė won the 1960s competition for architectural design, turning the initial socialist realist proposals into a welcoming and expressive design, blending elements of early and late modernism. This also represents a surprising accomplishment for a young architect who was a woman and not a member of the Communist Party. The project is featured in the program of Open House Vilnius, focused on the theme "People who create the city."
In search of possible locations, a plot of land near the Neris River, the site of a former wood gas factory destroyed during World War II, emerged as the preferred location. By the 1950s, several proposals were submitted by architects from Moscow, Vilnius, and Kaunas, reflecting a functionalist approach. In 1960, the Institute of Urban Construction and Planning of Vilnius City launched a design competition, which designated Elena Nijolė Bučiūtė as the winner of the commission.
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The final project was developed between 1960 and 1968 when construction began. The initial functionalist approach began to gain more complexity as the project evolved. This marks a shift from the clean lines of post-war Modernism to the more dynamic and intricate styles that characterize the late modernism period. It also reflects the different stages of redesign, as the original 1960s project was continuously adapted. The ornamentation was developed together with the architect's life partner, the artist Jurijus Markejevas. With his artistic flair and respect for tradition, he greatly influenced the project, particularly in the use of red bricks which mark the auditorium's volume. Markejevas created purpose-made bricks for the theater, drawing inspiration from Gothic elements in Lithuanian architecture.
While the present building still maintains the structure, volume, and composition of the original 1960s project, the current image of the venue is the result of several adaptations and transformations, reflected in the mix of materials, interior and exterior finishes, and ornamentations. The regular volume of the Opera sits on a slight slope, allowing it to touch the land lightly. This creates a slightly asymmetric silhouette, which blends with the surrounding square, designed by architects Algis Knyva and Aleksandras Lukšas.
The original design of the building aimed to highlight the connection to the Neris River by offering a wide transparent façade towards it, but subsequent interventions in the public space weakened this visual connection. The connection to the waterfront remains but in an indirect manner. Thus, the building's composition is divided into two distinct parts, a transparent one highlighting the public areas, and an opaque section accommodating the stage and closed-off areas. The light section's architectural character is most visible in the red lobby, a welcoming space with large windows and chandeliers, while the enclosed stage area features ample corridor spaces, crucial to the stage's operation and technical innovation.
An unfashionable item cannot in any way possible go out of fashion. - Elena Nijolė Bučiūtė
Despite all the changes in its design, the building retains a certain theatricality that introduces visitors gradually from the outside spaces to the grand spaces of the opera. Among the elements that contribute to this atmosphere is the outdoor staircase designed by Bučiūtė, representing a modern reinterpretation of the luxurious old theater architecture. This leads visitors to the open spaces of the transparent. Additionally, the building can be accessed through multiple points of entrance, showcasing a more egalitarian approach. Once inside, another grand staircase continues the theatrical ritual, leading visitors upwards in a symbolic gesture.
One of the most recognizable rooms of the Opera and Ballet Theater is the red lobby, an integral part of the 1960s vision. This ample space launched controversies upon inauguration, as some considered the height of the space to be inappropriate in terms of intimacy. Bučiūtė defended the choice, citing memories of sacred processions held in the neo-gothic church in Rokiškis. The proportions, instead of being overwhelming, offered a feeling of solemnity and strength, according to the architect's daughter. The large curtain walls open this space to the city. Inspired by the Ruhnau Theater, built in 1959 in West Germany by Werner Ruhnau, Bučiūtė's version further enriches the space with rich colors and textures. The lobby is additionally marked by the 72 brass and yellow glass chandeliers made by the East German company "Heimel Elektrik".
The culmination of the visitor's journey is the entrance to the auditorium. Initially hosting 1,150 seats, the space was upgraded in 2005, reducing the number of seats to 984. In addition to sight line optimizations, the renovation also improves the acoustics of the space, without drastically changing its design. The auditorium follows the horseshoe configuration, specific to the Baroque era, but adapts it to Modernist design principles with red ceramic tiles and dark African teak veneer logs expanded to form the acoustic ceiling. Five types of finishing tiles are used, crafted by Markeev from Latvian clay, harmonizing warm shades of clay, wood, and brass.
In addition to the public spaces, the opera also innovated in regard to its technical abilities. The stage, 5 times larger compared to the old theater on Basanavičiaus Street, represents one of the most technically complex spaces for the venue, housing all the equipment necessary to rapidly change the stage design during performances. During 2006-2009, this equipment, originally brought from Dresden, was replaced and upgraded to adapt it to contemporary needs. Together with the administrative offices, this comprises the opaque section of the building. Ballet and choir rooms are illuminated by skylights for focus, with a smaller rehearsal room for the choir. Employee numbers at the Opera and Ballet Theatre have doubled to 600, creating a demand for new spaces.
The Opera and Ballet Theatre's design journey reveals a departure from the Lithuanian architecture promoted by the Soviet Union, incorporating elements that reference subjective historical signs and traditions. While the building faced criticism upon its inauguration because of this departure, Elena Nijolė Bučiūtė's work has managed to evade fashionable trends and instead create a personalized form of Modernism.
This feature is part of an ArchDaily series titled AD Narratives, where we share the story behind a selected project, diving into its particularities. Every month, we explore new constructions from around the world, highlighting their story and how they came to be. We also talk to the architects, builders, and community, seeking to underline their personal experiences. As always, at ArchDaily, we highly appreciate the input of our readers. If you think we should feature a certain project, please submit your suggestions.
