Jani Golob (1948) is an exceptionally prolific Slovenian composer, who has composed versatile works for numerous musical ensembles. He has been dedicating himself to both classical music and contemporary music trends and has signed quite an enviable number of chamber and orchestral works, as well as theatre, film and popular music pieces. The versatile author has also received a number of professional awards, among which the prestigious Prešeren Fund Award and Župančič Award. Love Capital is his third opera to be premiered on our stage after The Krpan's Mare (1992) and Medea (2000). Closely collaborating with the composer on the creation of all the three mentioned works was also a librettist and stage director Vinko Möderndorfer, a many-sided artist and recipient of an enviable number of important theatre and film awards as well including both Prešeren Fund Award and Župančič Award. Vinko Möderndorfer has not only directed more then hundred theatre, opera, puppet theatre performances and films but has also written stage plays, prose and poetry (including children poetry), television screenplays as well as radio plays for children and adults and published more then thirty literary works. He has been collaborating with the Opera Slovenian National Theatre in Ljubljana mostly as a stage director ever since 1992.
Jani Golob's new opera Love Capital reflects the pulse of the present time, in which people unfortunately find themselves more and more convinced that the only true values are money, accumulated wealth and sweetness of power. The story about a love triangle and former friends, each of whom were cruelly pushed at their end of the social ladder, takes place in the dreadful world of social stratification and collapse of moral and ethical values, in places ruled by some kind of new age capitalists, i.e. masters of accumulating wealth through manipulation, fake loans, political connections and theft.
Nina has to decide between a young fellow, who is a poor worker without a future, and a man, who can offer her a comfortable and secure life. Her parents are putting pressure on her too as her father, who is just a small town Police Chief and her mother, wish a better life for their daughter. Nina's real love is the poor worker Jernej, who has just lost his job. He was dismissed from service by a fledgling tycoon Gruden, who did it partly from jealousy and partly from despotic arrogance, as both of them are competing for Nina's hand. In spite of the fact that it will make her life much harder, the girl chooses Jernej. Thus, the Heart beats the Capital and the plot thickens, as Gruden is not ready to give her up to his rival immediately.
A dramatic turn occurs in the second act, followed by some sort of a “thriller dynamics”. The third act, which takes place several years later, is the act of repentance and guilt … The past never leaves us. The conscience is beyond human behaviour. The evil will be punished. His burden offers no bright prospects for his future.
Therefore the narrative slips from its recognisable social context to some sort of intimate settlements between the main protagonists. Dynamic atmospheres, excellent and intensive choral parts, emotional arias, gripping duets and dynamic psychological relations, upgraded and complemented by music promise both modern and vigorous operatic piece, offering to its audience a very simple message: Love is a real value and the only Capital that can make a person rich and happy!