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The Vilumanis musical dynasty is one of the few in Latvia whose life and work is virtually synonymous with the National Opera. Three Aleksandrs and Helena Vilumanis have devoted a total a ninety years to the “White House”, as the Opera is affectionately called.

Aleksandrs, Senior (1910 - 1980) was a renowned baritone and matiné idol in post-war Latvia and, later, an austere professor of the Latvian State Conservatory. Loved and hated, highly prised and rejected, Aleksandrs Vilumanis’ cup over many times, still, he would say: I stand by the river thirsty because none of life’s earthly wonders could possibly ever replace the thrill of the creative process and the joy of transformation and performance. This proud and elegant singer’s portrayals of the Demon, Mephistopheles, Scarpia, Sebastiano and Boris belong to the annals of opera greats.

Vilumanis was descendant from a Russian landowner family; his parent’ (Katrina and Karlis) marriage was blessed by the Pope self. (This entire episode itself is worthy of the novel) Katrina herself was musically inclined, having studied at St. Petersburg’s Smolny Institute and later with the famous Russian opera singer, M. Slavina. Katrina, naturally, was her sons’ (especially) Aleksandr’s) first music teacher and the first person to establish a children’s opera studio in Riga in the 1920’s.

The young Aleksandrs Vilumanis’ singing career begins rapidly and brillianty, under the tutelage of revered music professors Jazeps Vitols and Pauls Sakss. At the age of twnenty0two, Vilumanis receives an Honorary Diploma at the Vienna International Vocalist Competition. At twenty-four, he is hired by the Liepaja Opera company, where artistic apprenticeship is combined with a genuine Bohemian milieu, romantic adventures and heated debates with colleagues on music, theatre and art long into the night. At twenty-six: Vilumanis first guest performances at the National Opera House (as Mephistopheles, Toreador and Scarpia). With the support of composer Alfreds Kalnins, Vilumanis receives additional vocal training in Milan with Prof. Carlo Cavallini. Along with his companion, a young pianist named Helena, unforgettable moments are spent in Naples and Pompei. The noted scenographer Nicholas Benoit introduces both young musicians to “La Scala”. Among the productions they see is “Cavalleria Rusticana”, conducted by the composer Mascagni himself.

Soon after, the National Opera invites Vilumanis to sing the title role in Rubistein’s “The Demon” (conducted by Teodors Reiters). Not even the singer himself could have dreamed that this role would become his greatest triumph (and personal favourite) and he the object of devout worship by legions of yearning, post-war female fans.

Aleksandrs Vilumanis, the First, performed over fifty roles on the National Opera stage. Scarpia (Verdi’s “Tosca”) is an unexpected “swan song”, as he is at the peak of his vocal powers.

Aleksands Vilumanis, the Second, is born late summer, 1942. Ominous occurences accompany this event, worthy of Andrew Lloyd Weber’s “The Phantom Of The Opera”: a chandelier crashes to the floor and the yard suddenly bursts in full bloom. True, this “lucky star’s” entire career will be accompanied by explosions large and small (and Mozart-salierian intrigue), most of which he manages to ingnore quite successfully. A musician is born of open mind and soul, unusual intellect, bold temperament, a beacon against injustice, insincerity and disloyalty. While still a student, he begins his professional career at the Bational Opera, conducting a production of Verdi’s “Il Trovatore”.

Swiftly and successfully. Energetically and clearly. Expressively and elegiacally. Lovingly and harshly. The struggle of opposites. That is the reality when the Conductor is at the podium; with distinct emotionality, the Musician creates his “theatre of the heart”. He doesn’t merely walk to the podium, he descends from flight. A youthful stance, fluid hand gestures produce wonderful musical faeries - notes from the page come to life!

Style and dramaturgy. Interpretation mastered at the “school” of the veteran Latvian conductors’ Leonids Vigners and Edgars Tons.

Musicality and artistry. “Gifts” inherited from both parents. Vilumanis loves to “spatter” with bright, succulent but natural colors. An emotional abundance begets the unexpected and new, whether presenting Wagner’s more delicate gradations or Tschaikovsky’s heart-rending ballet music.

Vilumanis’ exceptional ear was responsible for a perfectly-tuned opera ensemble in the 1970’s: Inese Galante, Ingus Petersons, Janis Sprogis, Elga Brahmane, Sergejs Martinovs, Samsons Izjumiovs, Nikolajs Gorsenins, Aleksandrs Polakovs. The 90’s brought two newcomers, Inga Kalna and Egils Silins. Superb voices all and in great demand in Europe.

St. Petersburg’s Maryunsky Theatre is an essential part of Vilumanis’ career twice, as a young intern and, later, as an experienced conductor. This northern beauty is at once generous and haughty: she accepts art of the highest quality only. Vilumanis, “a la prima”, conducts eight major operas, some captured also on videotape (premiered in London).

The 90’s approach. The musical carousel takes an unexpected turn; accolades abroad, a return to Latvia (and the National Opera) featuring Opera concerthappenings (festivals in Sigulda and Cesis), grand concerts in University Hall and, mainly, three Latvian operas that stun the public, but some minds in particular…

And beautiful Helena’s (third) son is once again in transition…

Helena Vilumane is a noted pianist and padagogue and accompanist at the National Opera for forty years - an alltime record for anyone at the “White House”. A unique life spent nurturing many leading National Opera stars of the post-war era: Milda Brehamne-Stengele, Atrurs and Regina Frinbergs, Janis Zabers, Karlis Zatins, and, lastly, Solveiga Raja and Sergejs Martinovs. The countless productions include “The Queen of Spades”, “Iolanta”, “Tanhäuser”, “Die Walküre”, “La Boheme”, “The Girl From Golden West”.

A joyful childhood leaves it mark on Helena, who is blissful, charmningly naļve and feminine with streaks of her beloved Scarlett O’Hara’s arrogance and independence.

Her last production (at age 70) at the Opera is Strauss’ ”Salome”, in collaboration with her son, Aleksandrs. The twilight of a lifetime brings reflection: life has passed breathlessly, the only thing its presence is left that isn’t “gone with the wind” is music - its presence is felt in all three of Helena’s sons and her grandchildren…

Aleksandrs Vilumanis III is born in 1971. His childhood is also opera impelled. First roles are in Britten’s “The Little Sweep”, Wagner’s “Tanhäuser” and Rimsky-Korsakov’s “Snow White”. Vilumanis has both a Bachelor’s and Master’s in pedagogy and currently is studying voice at the Latvian Academy of Music in Prof. Gurijs Antipovs’ class (second year). He is also completing a Doctorate at the University of Latvia Pedagogy and Psychology Institute.

Baiba Vilumane, ballet dancer, pedagogue and art historian, is a graduate if the Riga Choreographic School and the Latvian Academy of Art. She has taught art and ballet history at the Riga Choreographic School for over twenty years. Vilumane has introduced dance and movement to many leading directors and opera singers of the so-called Inese Galante generation.