The nanosubject of this nanoopera revolves around the traditional opera and its rituals, traditions of aesthetics and ethics. The piece addresses one of the rituals performed by men while getting ready for the opera. It raises the nanoquestion of the relation between inner and outer beauty in opera dress code that society inflicts on men. Do we create the dress code or does it create us? Why does a man need a tie when he goes to the opera?
The music material is based on recordings of various sounds made by women, expressing the state of boredom (yawning, clicking of the tongue, exclamations like “well, pfff, ah”, and so on). They are arranged to form a rhythmical basis of the track. In the beginning its transparent structure communicates with short sounds and melodic fragments performed by the clarinet (dialogue between phonogram and performer), however, eventually the individual motives evolve into a technically complex virtuoso piece for the clarinet. Meanwhile the vocal footage consists of uninterrupted prolonged sound mixture, contrasting with the complex clarinet part in fast tempo. The clarinet is the most important performer, while the singers only play a secondary role, unlike in the usual opera. A battle for the most lovely, expressive and melodious sound goes on between the performers.Authors of the idea Rita Mačiliūnaitė and Justas Tertelis