State ensemble “Lietuva”, a professional company involving dancers, folk instrument orchestra, and choir, was established in Vilnius in November 1940. Its initial artistic director, composer Jonas Švedas (1908 – 1971), formulated the ensemble’s artistic objectives: promulgation of folk songs, dances, instrumental music as well as exposing the beauty of Lithuanian national costumes.

When forming the ensemble, J. Švedas had to decide whether to base the ensemble in a natural ethnographic environment and foster authentic folklore – songs, dances, and music – there, or upgrade folk instruments and perform “new music in folk style,” “specially balanced folk songs,” and staged versions of folk dances. J. Švedas chose the latter option.

The ensemble made its debut on February 22, 1941. The program consisted of J. Švedas’ arrangements of folk songs and staged folk dances. It also included sutartinė – an authentic folk song appreciated for its unique sonorities. In November of the same year, the ensemble premiered a staged-concert “Country Wedding,” featuring wedding customs, and in 1942 introduced one more program in the same vein – “St. John’s Celebration.” On March 18, 1943, the ensemble was disbanded and resumed activity in the autumn of 1944. Since then, “Lietuva” has focused on expanding its repertoire and experimenting with new artistic forms.

In the 40s – 50s, the ensemble developed the so-called “golden repertoire” – compositions (especially dances, choreographed by Juozas Lingys) enjoying popularity to this day. By 1962, the ensemble had developed 25 programs. Needless to say, every program at that time had to have “a cap” – a “Soviet” song and national dances of the USSR. However, the “capped” ensemble could relatively easily sing and dance the Lithuanian repertoire, which was always enthusiastically received by the audiences.

In 1962 – 1972, under the direction of Vladas Bartusevičius (1927 – 1982), the ensemble enriched its repertoire with new programs. The first, called “Winds of Ages,” was a collaboration of 13 composers and 7 poets. The orchestra introduced new folk music instruments such as ožragis (goat-horn), molinukai (clay pipes), džingulis (bell-stick), tabalai (percussion), ragai (horns), dūdmaišis (bagpipe) also called labanoro dūda. Stylized national costumes, designed by the artist D. Mataitienė, stirred a hot discussion. On the whole, this program anticipated a new and more modern artistic tendency.

The program “Festive Evenings” (1968) received even wider acclaim. At its core were the calendar holidays of four main ethnographic regions of Lithuania – Dzūkija, Aukštaitija, Žemaitija (Samogitia), and Suvalkija. New and ethnographically meticulous costumes, designed by artists R. Songailaitė and J. Balčikonis, earned additional admiration. The program featured Dzūkian Christmas carols, Samogitian Mardi Gras, Aukštaitian Joninės (St. John’s Celebration), and Suvalkian celebration of the end of autumnal works. This program effectively combined elements of both folk and professional art; it did not neglect a patriotic flavor as well. In developing this program, V. Bartusevičius collaborated with composers A. Bražinskas, V. Klova, V. Juozapaitis, L. Povilaitis, V. Bagdonas, and B. Dvarionas. The then-government of the Soviet Union could not ignore the artistic success of such a caliber and awarded the program designers the State Prize.

Pranas Budrius (b. 1938), a former director of the orchestra, led the ensemble in 1972 – 1999. He designed five programs. “Across the Motherland” (1974) – a journey across Lithuania, guided by Palangos Juzė, a well-known literary character – enjoyed great popularity. In Suvalkija, Palangos Juzė visited merrymaking after completing hard work, Dzūkija he was a guest at an evening party, Aukštaitija he took part in youth entertainment, and Žemaitija (Samogitia) he enjoyed the end-of-winter celebration.

The motives of calendar holidays were also felt in other programs of this period, namely “Rye’s Chant” (1985) and “Sun Is Crossing the Sky” (1991). The latter was saturated with mythological images, symbols, and pantheistic insights. Marked by theatrical elements and pagan fervor, the program represented ancient Lithuania as well as man’s primeval correlation with nature and the world. This time, the composers’ list introduced new names – A. Martinaitis, V. Bartulis, and A. Klova.

Composer Leonas Povilaitis (b. 1934) led the ensemble at the turn of the 21st century. He is credited for a program “From Ancestors’ Fount” composed of songs, dances, and vocal-choreographic compositions in a folk vein written by the director himself.

Composer G. Svilainis (b. 1972) has led the ensemble since 2004. Under his guidance, the ensemble has developed new programs marked by original musical style and innovative interpretation of Lithuanian folklore. In the musical spectacle “Thunderer,” composers G. Svilainis and N. Sinkevičiūtė shunned small-scale numbers and concentrated on continuous dramaturgical development. Seven scenes, in one way or another, refer to one of the foremost characters of ancient Lithuanian culture – pagan god Thunderer and his environment – witches, clouds, devil, and senior priests. Striking music links the world, gods, and men into one undividable orb.

In 2004, the ensemble introduced G. Svilainis’ folklore mystery play “Lightning Flowers,” in which the composer fused folklore and music. It was an attempt to render authentic folk music in the language of contemporary culture, to merge it with vigorous songs and dances. The recent program “Unforgettable. Old – New” is a garland of contrasts. Its first half presents the ensemble’s “golden repertoire,” while the second half revisits another music of the Soviet era with a hint of irony: popular melodies of that time arranged for folk and percussion instruments by G. Svilainis. An electronic synthesizer amplifies this peculiar orchestra. This is a concert-game, half seriously half-jokingly recapping odd values of the time, which seems so far away for today’s young generation.

In the first post-war decade, the ensemble performed mostly in Lithuania, other “brotherly” republics, and Moscow. Concerts at the decade of Lithuanian literature and art in Moscow in 1954 received a positive critical response. Performances in Poland (1957) and Romania (1958) brought international acclaim. Since then, the ensemble has toured in Europe (37 countries), Asia, and North and Latin America. The year 1999 saw “Lietuva” conquering Japanese audiences. Upon the Japanese request, the program featured folk dances of 10 different regions of Lithuania. In addition to the concert program, V. Buterlevičius, leader of the dance group, led six folk dance seminars in different Japanese cities.

Currently, the ensemble involves 116 persons including singers, dancers, musicians, and administrative personnel. The ensemble invests its energies in building a variety of new projects. The artistic altar is constantly rekindled with the flame of national art.

Thirty-six persons were on the personnel list on February 22, 1941; 152 on February 22, 1991; today – 116. In more than six decades, the ensemble performed over 1000 works and appeared in over 8000 concerts.

Contributors To The Ensemble’s Repertoire:

Composers:

Švedas – 128 works

Klova – 57 works

Bražinskas – 49 works

Povilaitis – 31 works

Juozapaitis – 30 works

Choreographers:

Lingys – 167 works

Buterlevičius – 41 works

Gudavičius – 24 works

Kondratavičius – 15 works

Artistic Directors:

Years of service are indicated in parentheses.

Švedas (1940–1943, 1944–1962)

Bartusevičius (1962–1972)

Budrius (1972–1999)

Svilainis (2008)

Choir Directors:

Years of service are indicated in parentheses.

Leparskas (1945–1946, 1953–1954)

Ilčiukas (1954–1960)

Zaleckas (1961–1962)

Krogertas (1962–1968)

Žeimys (1968–1988)

Kriūnas (1988)

Directors:

Years of service are indicated in parentheses.

Povilaitis (1999–2001)

Aleksandravičius (2002)

Svilainis (2004-2008)

Katinskas (2009)

Orchestra Directors-Conductors:

Years of service are indicated in parentheses.

Pilypaitis (1946–1968)

Budrius (1968–1972)

Budrys (1972–1989)

Vidugiris (1989–1992)

Prusevičius (1992)

Lukočius (2010)

Kaveckas (2012)

Dance Directors:

Years of service are indicated in parentheses.

Baronaitė (1940–1943)

Parulis (1943–1946)

Lingys (1946–1981)

Buterlevičius (1981)

Stage Directors:

Years of service are indicated in parentheses.

Velička (1941–1946)

Dauguvietis (1949–1950)

Gruodis (1950–1951)

Petrauskienė (1951–1955)

Nosevičiūtė (1960–1961)

Jurkūnas (1961)

Kernagis (1963, 1974)

Petrokas (1991, 2000)