THE POWER OF VIRTUE
S. T. Br. B. /Mixed Choir / Chamber orch. (Cl 1, Cl 2, Cl basso, Trombone 1, Trombone 2 – 4 perc – Arpa, Piano – El org – Vl 1, Vl 2, Viola, Vcello, Cb)
One act opera, libretto by Dejan Miladinović, based on Statuette, a novel by Mirko Božić. Commission of Zagreb Music Biennale, premiered on MAY 8 1977 in the Croatian National Theater, stage director Dejan Miladinović, Conductor Igor Kuljerić
1977 INA Music Award
The dramaturgy of the opera is based on a story which tells the loss felt by a “simple man” who cannot resist the “dark” forces that rule the world. His daily routine is similar to a vegetative state, to which he resigns helplessly, almost enjoying it unconsciously. This leads to frustration and a banal love conflict with his girlfriend, creating a low-level, but dangerous and - destructive in its consequences - political plot and lie. Finally, our "simple man" gradually becomes completely isolated from the world that surrounds him.
The tragic fate of an abandoned and excommunicated person, reveals the destructive power of manipulating people and ideas. And that is the first and real reason for this musical-scenic work.
Musical language is developed using two recognizable layers. Opera scenes are built by their simultaneous or successive intertwining.
The first layer stays in the field contemporary musical language to shape scenes on the verge of psychological repression and trauma, as well as the "stylization" of group and realistic scenes.
The second layer uses recognizable musical patterns whose intentional “banality” emphasizes triviality, alienation, naivety, cynicism and manipulation.
My idea was to reconcile (or confront) the opposites, the old and the new, to create a synthesis; to keep that melodiousness, melody, basic line, but also to set musical, immanent social problems.
My task was not easy. Spajić chose "Kipić", that “waif”. He was the first to see stage and musical potential in it. Then he called Miladinović, who made a libretto, actually a synopsis. I continued to build on that, turned the whole thing into musical material. I aspired to that ambiguity which the librettist did not foretell. I wanted to do something new - the text was just an incentive for me.