Mezzo-soprano Antra Bigača, along with distinguished and award-winning pianist Ventis Zilberts, last year recorded the album Laikam pāri… Latviešu vokālā kamermūzika 1950-2000. The compact disc is an overview of Latvian classical vocal chamber music on a decade-by-decade basis, with a cycle of works from each period.

Bigača has a unique voice. She has been a soloist at the Latvian National Opera since 1989, with more than 30 opera roles in her repertoire, and has performed many major works both in Latvia and worldwide. She also has won the Latvian Great Music Award in 1995 and the Latvian Music Award in 2008.

Though a mezzo-soprano, Bigača’s voice has a fullness and richness one might associate more with the alto voice. The works on the CD feature both ends of the spectrum, with the soaring heights of a traditional soprano and the deeper tones one might hear with an alto singer. This is one of many reasons why Bigača is one of the most noteworthy of Latvian singers. Bigača’s repertoire also includes one of the best known of mezzo-soprano roles: Bizet’s Carmen.

The 1950s are represented by composer Marģeris Zariņš with his vocal cycle “Sudrabota gaisma” (1952), with lyrics by Latvian poet Rainis. This nine-work cycle features some of Rainis’ most romantic words, with Bigača bringing both a tenderness and strength to these texts.

Composer Jānis Mediņš represents the 1960s, with his five-song cycle “Dziesmas” (1965) with texts by well-known Latvian poet Mirdza Ķempe. Here Zilberts provides a lyrical and nuanced piano performance that along with Bigača’s expressive singing provides for some memorable performances, particularly on the song “Mīlestības krāšnais koks.”

A unique Latvian composer is Pēteris Plakidis, who combines styles from multiple eras and adds a touch of humor to create a style that is individually his. This is displayed in the cycle “Trīs dziesmas ar Ojāra Vācieša dzeju” from 1979. Poet Ojārs Vācietis is one of the most beloved of Latvian poets, so composing satisfying music for his works is no easy task. The intentional clash of influencing styles of Plakidis can be heard in the brief song “Sadzīs vējis pēdas tev…,” with its vocal leaps and rather dramatic stylistic changes.

Arturs Maskats is considered by some to be one of the “Neo-Romantic” Latvian composers—a style tendency that is associated with emotional expressiveness. This is observed in the beautiful melodies of his vocal cycle “Romantisks triptihs” from 1989 with the poetry of Veronika Strēlerte. Moving from the lyrical “Sāpju pavasaris” to the almost funeral march-like “Pieta,” Bigača provides the necessary pathos to bring forth the emotion expressed in both the music and the texts.

The CD is rounded out by the vocal cycle “Three Songs Based on Poems by Emily Dickinson,” composed by Dace Aperāne in 1994. The cycle, in fact, is dedicated to Bigača. The tender piano music provides a beautiful landscape for the stirring singing of Bigača, particularly the poem “Wild Nights!,” an especially passionate poem of Dickinson’s.

The accompanying booklet features biographies of Bigača and Zilberts in both Latvian and English, as well as brief commentaries by Bigača on each of the works.

The CD is a particularly satisfying listen, with Bigača reaffirming her place as one of the most vivid interpreters of Latvian music, ably assisted by the talented pianist Zilberts. Not only does one hear the talents of the musicians themselves, but this collection features some of the most significant Latvian composers, not to mention memorable lyrics by a number of Latvia’s most important poets. Overall, this is a valuable collection and one of the best Latvian vocal chamber music CDs available today.

By far the most successful heavy metal band from Latvia has to be Skyforger. Last year, the band released Kurbads, its first album on the Metal Blade Records label and its sixth album overall.

Besides attracting a large and dedicated following within Latvia, Skyforger has made itself known internationally. This is not too surprising. Not only does the group display accomplished musicianship and songwriting, but Skyforger also distinguishes itself by the fact that its music is influenced by Latvian folk themes and pagan traditions. Skyforger also makes use of traditional Latvian instruments. The group even dresses the part, with a wardrobe that makes band members look like ancient Latvian warriors.

Due to its growth in popularity, international recording companies have taken notice. Last year, Skyforger signed with Metal Blade Records, perhaps the best known of the labels catering to heavy metal music.

Kurbads, as many of Skyforger’s previous works, delves deep into Latvian folklore and presents a series of songs about the warrior Kurbads, son of the mare.

To be sure, the music of Skyforger is an acquired taste. Besides it being heavy metal, which might not be to the liking of some listeners, the music is particularly aggressive. The vocals are more growled than sung, making the lyrics almost unintelligible at times. Fortunately, the booklet that comes with the compact disc includes full lyrics in Latvian with English translations.

Formed in 1995, the group is just past its 15th anniversary as an ensemble. However, the CD packaging is vague about the identities of the band members. They are only listed by the first names and nicknames: there is Peter on lead vocals and guitars, Edgars “Zirgs” on bass and vocals, Kaspars playing folk instruments and singing, Edgars “Mazais” on percussion, and Martins, also on guitars.

The Skyforger songs that I like the most are the ones that use traditional instruments, such as “Ķēves dēls,” which features what sounds like a Latvian stabule (reed pipe) and is about the birth of Kurbads. There is also Skyforger’s interpretation of a Latvian folksong, “Tēva dēla pagalmā,” sung in a very gruff, though slightly more intelligible, style.

I actually wish there were more songs that more prominently feature Latvian instruments, or even Latvian folk song melodies. Of all of the Skyforger songs that I have heard, the one that I have liked the most is the band’s heavy metal version of the Latvian folk song, “Migla, migla, rasa, rasa,” found on Skyforger’s 2003 album, Pērkonkalve. Apart from the previously mentioned songs, and besides the lyrical content, there seems to be less of a Latvian influence in the melodies and music this time around.

The songs continue the story of Kurbads, with “Deviņgalvis,” a song about Kurbads’ battle with the ogre with nine heads (after finishing off an ogre with slightly fewer heads: six); “Velnukāvējs,” the story of the forging of a mighty sword for Kurbads; and Kurbads’ own violent death in “Pēdējā kauja,” where, after slaying the Serpent Witch with one hand and a giant ogre with the other, he finally succumbs to the snake poison already in him, falls on his sword and dies.

As a bonus track the album also features a cover version of the song “Kurbads,” originally recorded by Latvian hard rock band Opus Pro in 1986, though played with much heavier guitars and more aggression.

To be honest, I found Kurbads to be difficult to get into. There is no denying Skyforger’s talents, as band members certainly have written some monster riffs on this record. The lyrical content is certainly unique, but something still seems missing here. The playing is tight and aggressive, but (perhaps it is my advancing age) it would still have been nice to hear a bit more singing and a bit less growling. It becomes difficult to distinguish the songs if they are all fast tempo, aggressive riffing. In any case, one must admire the band’s success, as well as its dedication to its art. Hopefully this is the album that brings Skyforger a larger worldwide following, which it certainly deserves.

While browsing through the latest releases at the record store one day, I encountered a compact disc entitled Revelation and containing works by Latvian composer Georgs Pelēcis.

Though I had some minimal knowledge about the composer, I was not familiar with any of his works, so I decided to give the CD a try.

And I am glad I did, since the CD was quite a find: an enjoyable collection of modern classical music, as performed by Kremerata Baltica—one of the world’s best ensembles, made up entirely of young musicians from the Baltic states—and its founder and artistic director, distinguished violinist Gidon Kremer.

Pelēcis is a professor at the Latvian Academy of Music and the author of many texts on music. His symphonic music for the Roald Dahl story Jack and the Beanstalk was performed at the Royal Albert Hall in London. His work “Nevertheless” (included on the CD) has been performed in Rīga, Pittsburgh and San Francisco with dance choreography.

Modern classical music has a reputation, often deservedly, as harsh and very difficult to listen to, with jarring intervals and intentional avoidance of melodies and traditional elements. Though Pelēcis is certainly a modern composer, his music is not lacking in melodies and harmonies. As Pelēcis has an interest in ancient music, there are clear melodic elements of earlier eras, making for quite enjoyable listening.

The album begins with the fast paced “Revelation,” featuring not just Kremerata Baltica, but also countertenor Jānis Šipkēvics, Gabor Boldoczki on trumpet and Katia Skanavi playing the piano. As its title would indicate, the text of the work has Biblical elements to it. Šipkēvics’ soaring voice is nicely balanced with Skanavi’s piano playing, while the string ensemble provides a rapidly moving foundation to this celebratory piece. Pelēcis’ interest in ancient and Renaissance music shines through here, with many elements reminding the listener of the Baroque era, but certainly with a modern aspect to it.

Kremer is featured on the composition “Nevertheless,” a single-movement “double concerto” for violin, piano (once again performed by Skanavi) and orchestra. The piano part, very melancholic in its minor key setting and with an almost minimalistic feel to it, balances with Kremer’s violin, which performs a tender melody in a major key. The piano and violin seem to have a conversation with one another throughout the work, with the dialogue switching between the sadness of the piano and the more positive melody of the violin, though, at the end, the piano switches to a major key.

In a slightly different style, there is also the concerto-like work “Buena Riga,” a fantasy weaving together music in the style of Argentine composer Astor Piazzolla as well as Daugavpils-born Oscar Strock, who was of Jewish ancestry and known as the “King of the Tango” in Rīga, where he lived for many years. These disparate elements come together to form one of Pelēcis’ unique compositions, a slow, yet romantic and lyrical tango.

The collection finishes with a brief work (five minutes long) appropriately titled “The Last Song.” It is a slightly ominous work that expresses a sense of loss and regret, expressing the feelings and emotions that arise when someone does something for the last time, or if someone is bidding farewell to some place. Though the work is brief and certainly tinged with sadness, it is a particularly poignant way to finish the collection.

The CD booklet contains biographical information on both Pelēcis and Kremerata Baltica, as well as a brief notes on all of the compositions in English, German and French.

Though perhaps not as well known as others, Pelēcis has clearly established himself as one of the pre-eminent composers in Latvia. Thanks to the always dependable Kremerata Baltica and its visionary leader, this positive and beautiful music is given an excellent treatment and presentation.