Re:turn

Opera soloists have been using their bodies as instruments for centuries. In the world of instrumentalists, this is still a rarity. Dominyka Šeibok is an exception.

This exceptionally versatile artist, flutist, and project creator has repeatedly captured the attention of the Muzikos magijos klubas audience with both profound classical music concerts and unexpected performances. This time, she returns with a unique project, "Embodied Music" ("Įkūnyta muzika"), in which she will break standards and aim to prove that the instrument is only a part of what a performer can express on stage.

We will hear a theatrical interpretation of Schubert's "Ständchen," in which Dominyka will join forces with pianist Simona Zajančauskaitė and percussionist Džiugas Daugirda. Later, the performer will play Debussy's "Syrinx" completely without the instrument itself – it will be brought to life solely through facial expressions, voice, and the "language" of hands. The evening will be crowned by a theatrical free improvisation – a unique, long-developed style of Dominyka's own, which one wants to call a completely separate art genre.

The portal "Delfi" writes about this performance by Dominyka:

Can classical music be not only heard but also seen? Flutist Dominyka Šeibok is convinced that it can. Having returned to Lithuania after studies and creative experience in the United States, the performer presents a unique project, "Embodied Music," in which classical pieces merge with body movement, theater, visuals, and performance. There have been almost no such forms of classical music interpretation in Lithuania until now.

"I am always looking for pieces that affect me very deeply emotionally – those are the only ones I perform. Listening to them again and again, ideas begin to emerge that usually go beyond the boundaries of music alone. However, the flute always remains in the first place," D. Šeibok admits in a press release.

From rules to complete freedom

Having returned to Lithuania from California two years ago, the flutist brought back not only international experience but also a question that still sounds unusual in the world of classical music – how to convey to the viewer everything that lies behind every sound? She searched for the answer for five years.

"My flute teachers would constantly stop me – in classical music, everything must be precisely regulated: breathing, posture, hand position. But for me, movement has always been a natural form of expression," the performer says.