Page 229 - Weiss, Jernej, ur./ed. 2021. Opereta med obema svetovnima vojnama ▪︎ Operetta between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 5
P. 229
oper etta in sar ajevo between the two wor ld wars
tifs” or popular folk songs adapted for stage performance – were frequently
featured, though they were not closely related to the plot.
During the first two seasons many pieces with singing by Serbian
and Croatian authors were performed, such as: Zona Zamfirova by Stevan
Sremac (1855–1906), Koštana by Borisav Stanković (1876–1927), Školski na
dzornik by Kosta Trifković (1843–1875), Đido by Janko Veselinović (1862–
1905) and Dragomir Brzak (1851–1904), Put oko svijeta by Branislav Nušić,
and Šokica by Ilija Okrugić-Sremac (1827–1897). In the season 1922/1923, the
first piece with singing with a topic from Bosnian and Herzegovinian life
was staged. It was entitled Aiša and based on a text by the local author
Svetozar Ćorović (1875–1919), with the music composed by František-Fran-
jo Matĕjovský. Aiša (which premiered on 17 February 1923) was followed by
a series of local pieces with singing.7
Since music was an important segment of the production of pieces with
singing, the management of the National Theatre formed several music en-
sembles (choir, ballet, and orchestra) led by permanently employed theatre
conductors, soon after the theatre’s establishment.8 The theatre orchestra
first appeared before a Sarajevo audience at the official theatre opening,
7 Local pieces with singing in the repertoire of National Theatre in Sarajevo: Almasa
(text: Jovan Palavestra, music: Beluš Jungić, 1925), Zlatija (text: Osman Đikić, mu-
sic based on folk motifs: B. Jungić, 1925), Sevdah (text: Branislav Nušić under the
pseudonym ‘Halil Delibašić’, music: F. Matĕjovský and B. Jungić, 1927), Lelei Kadr
(text: B. Nušić under the pseudonym ‘Halil Delibašić’, music: F. Matĕjovský and B.
Jungić, 1927), Nasrudin-hodžina čudesa (text: Milan Ćurčić, music: A. Pordes, 1927),
Nasrudin hodžini ršumi i rusvaji (text: M. Ćurčić under the pseudonym ‘E. Zebić’,
1930), Od kako je Banjaluka postala (text: Rasim Filipović, music: J. Plecitý, 1939),
Na Struga dukjan da imam (text: B. Jungić, music: Josip Majer, 1932), Prikaza (text:
R. Filipović, 1935), Zembilj (text: M. Ćurčić, 1936), Mošćanice, vodo plemenita (text:
R. Filipović, music: B. Jungić, 1940). Cf. Tamara Sarajlić-Slavnić, “Repertoar praiz-
vedbi i premijernih predstava drame (1921–1996),” in Narodno pozorište u Sarajevu:
izložba 75 godina rada Narodnog pozorišta, 100 godina zgrade sa osvrtom na teatar
ski život Sarajeva prije osnivanja Pozorišta: teatrografska studija Repertoar Pozoriš
ta (1921–1996), Prilozi o razvoju Drame, Opere i Baleta i teatarskom životu, ed. Ta-
mara Sarajlić-Slavnić (Sarajevo: Muzej književne i pozorišne umjetnosti BiH, 1998),
45–134.
8 From 1920 to 1941, theatre ensembles were headed by the following conductors: Jo-
sip Hladek-Bohinjski (1879–1940), Karel Moor (1873–1945), František Matĕjovský
(1871–1938), Josip Rožđalovski (?–1931), Beluš Jungić (1892–1968), Otmar Hofer
(?–?), Alfred Pordes (1907–1941 ili 1942), Jaroslav Plecitý (1901–1961), Josip Majer
(1888–1965) and Maks Unger (1888–1962). Cf. Fatima Hadžić, Muzičke institucije
u Sarajevu (1918–1941): Oblasna muzička škola i Sarajevska filharmonija (Sarajevo:
Muzička akademija, Institut za muzikologija, 2018), 42.
227
tifs” or popular folk songs adapted for stage performance – were frequently
featured, though they were not closely related to the plot.
During the first two seasons many pieces with singing by Serbian
and Croatian authors were performed, such as: Zona Zamfirova by Stevan
Sremac (1855–1906), Koštana by Borisav Stanković (1876–1927), Školski na
dzornik by Kosta Trifković (1843–1875), Đido by Janko Veselinović (1862–
1905) and Dragomir Brzak (1851–1904), Put oko svijeta by Branislav Nušić,
and Šokica by Ilija Okrugić-Sremac (1827–1897). In the season 1922/1923, the
first piece with singing with a topic from Bosnian and Herzegovinian life
was staged. It was entitled Aiša and based on a text by the local author
Svetozar Ćorović (1875–1919), with the music composed by František-Fran-
jo Matĕjovský. Aiša (which premiered on 17 February 1923) was followed by
a series of local pieces with singing.7
Since music was an important segment of the production of pieces with
singing, the management of the National Theatre formed several music en-
sembles (choir, ballet, and orchestra) led by permanently employed theatre
conductors, soon after the theatre’s establishment.8 The theatre orchestra
first appeared before a Sarajevo audience at the official theatre opening,
7 Local pieces with singing in the repertoire of National Theatre in Sarajevo: Almasa
(text: Jovan Palavestra, music: Beluš Jungić, 1925), Zlatija (text: Osman Đikić, mu-
sic based on folk motifs: B. Jungić, 1925), Sevdah (text: Branislav Nušić under the
pseudonym ‘Halil Delibašić’, music: F. Matĕjovský and B. Jungić, 1927), Lelei Kadr
(text: B. Nušić under the pseudonym ‘Halil Delibašić’, music: F. Matĕjovský and B.
Jungić, 1927), Nasrudin-hodžina čudesa (text: Milan Ćurčić, music: A. Pordes, 1927),
Nasrudin hodžini ršumi i rusvaji (text: M. Ćurčić under the pseudonym ‘E. Zebić’,
1930), Od kako je Banjaluka postala (text: Rasim Filipović, music: J. Plecitý, 1939),
Na Struga dukjan da imam (text: B. Jungić, music: Josip Majer, 1932), Prikaza (text:
R. Filipović, 1935), Zembilj (text: M. Ćurčić, 1936), Mošćanice, vodo plemenita (text:
R. Filipović, music: B. Jungić, 1940). Cf. Tamara Sarajlić-Slavnić, “Repertoar praiz-
vedbi i premijernih predstava drame (1921–1996),” in Narodno pozorište u Sarajevu:
izložba 75 godina rada Narodnog pozorišta, 100 godina zgrade sa osvrtom na teatar
ski život Sarajeva prije osnivanja Pozorišta: teatrografska studija Repertoar Pozoriš
ta (1921–1996), Prilozi o razvoju Drame, Opere i Baleta i teatarskom životu, ed. Ta-
mara Sarajlić-Slavnić (Sarajevo: Muzej književne i pozorišne umjetnosti BiH, 1998),
45–134.
8 From 1920 to 1941, theatre ensembles were headed by the following conductors: Jo-
sip Hladek-Bohinjski (1879–1940), Karel Moor (1873–1945), František Matĕjovský
(1871–1938), Josip Rožđalovski (?–1931), Beluš Jungić (1892–1968), Otmar Hofer
(?–?), Alfred Pordes (1907–1941 ili 1942), Jaroslav Plecitý (1901–1961), Josip Majer
(1888–1965) and Maks Unger (1888–1962). Cf. Fatima Hadžić, Muzičke institucije
u Sarajevu (1918–1941): Oblasna muzička škola i Sarajevska filharmonija (Sarajevo:
Muzička akademija, Institut za muzikologija, 2018), 42.
227
