Page 235 - 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. 235
oper etta in sar ajevo between the two wor ld wars
need to remove operetta. In the following issues, the journal published res
ponses by some of the respondents – using the educational and artistic
dimension of theatre, the intellectual elite mostly “sentenced” operetta to
the poor fate it encountered that season.35 It is interesting to see the opin-
ions of some survey respondents, which differ greatly in some respects.
Jovan Palavestra (1893–1959), for example, a writer and theatre critic, pro-
vided comments and advice on how both operetta and pieces with singing,
beloved by audiences, could be brought closer to artistic expression:
In Sarajevo, operetta has substantially resonated with audiences.
It should be maintained, though with more careful selection and
more conscientious preparation, retouching of trite textual and
musical spots and passages; directing should skilfully balance on
the verge between beautiful and trite. If, for instance, an operetta
cannot include at least a hint of art ballet (if it is enabled by indi
vidual musical passages), then one should avoid entertainment of
the variety show kind, regardless of the applause accompanying it.
If an operetta, due to its text and comic nature, dictates the actors’
‘buffa’, let experiments follow the line of moderation. It is the direc
tor and conductor’s task to bring operetta closer to the reputation of
opera and farther from variety show; thus retouched and ‘cleansed’
operetta will still be so suggestive as to respond to the audience’s de
mands but with taste.36
Vladislav Tmuša (1888–1954), a writer, stated that operetta is complete-
ly unprofitable and that therefore it had to be removed from the repertoire:
Due to the audiences who look for such things, operettas should be
occasionally performed; however, it is related to far greater expens
es than actual revenues. Since drama paid for the operetta in the
past as well, operetta should definitely be removed now.37
The writer Jakša Kušan (1900–1980) believed that operetta could be re-
tained, but that its proper position should be defined:
4. What repertoire is needed for the heterogeneous Sarajevo audience?; 5. Should oper
etta be removed?; 6. What roads lead to overcoming the crisis?” Anon., “Anketa o krizi
sarajevskog pozorišta,” Pregled, June 12, 1927, 9.
35 Ibid.
36 Jovan Palavestra, “Anketa o krizi sarajevskog Nar. Pozorišta,” Pregled, Juli 3, 1927, 6.
37 Vl. Tmuša, “Anketa o krizi sarajevskog Nar. Pozorišta,” Pregled, July 3, 1927, 7.
233
need to remove operetta. In the following issues, the journal published res
ponses by some of the respondents – using the educational and artistic
dimension of theatre, the intellectual elite mostly “sentenced” operetta to
the poor fate it encountered that season.35 It is interesting to see the opin-
ions of some survey respondents, which differ greatly in some respects.
Jovan Palavestra (1893–1959), for example, a writer and theatre critic, pro-
vided comments and advice on how both operetta and pieces with singing,
beloved by audiences, could be brought closer to artistic expression:
In Sarajevo, operetta has substantially resonated with audiences.
It should be maintained, though with more careful selection and
more conscientious preparation, retouching of trite textual and
musical spots and passages; directing should skilfully balance on
the verge between beautiful and trite. If, for instance, an operetta
cannot include at least a hint of art ballet (if it is enabled by indi
vidual musical passages), then one should avoid entertainment of
the variety show kind, regardless of the applause accompanying it.
If an operetta, due to its text and comic nature, dictates the actors’
‘buffa’, let experiments follow the line of moderation. It is the direc
tor and conductor’s task to bring operetta closer to the reputation of
opera and farther from variety show; thus retouched and ‘cleansed’
operetta will still be so suggestive as to respond to the audience’s de
mands but with taste.36
Vladislav Tmuša (1888–1954), a writer, stated that operetta is complete-
ly unprofitable and that therefore it had to be removed from the repertoire:
Due to the audiences who look for such things, operettas should be
occasionally performed; however, it is related to far greater expens
es than actual revenues. Since drama paid for the operetta in the
past as well, operetta should definitely be removed now.37
The writer Jakša Kušan (1900–1980) believed that operetta could be re-
tained, but that its proper position should be defined:
4. What repertoire is needed for the heterogeneous Sarajevo audience?; 5. Should oper
etta be removed?; 6. What roads lead to overcoming the crisis?” Anon., “Anketa o krizi
sarajevskog pozorišta,” Pregled, June 12, 1927, 9.
35 Ibid.
36 Jovan Palavestra, “Anketa o krizi sarajevskog Nar. Pozorišta,” Pregled, Juli 3, 1927, 6.
37 Vl. Tmuša, “Anketa o krizi sarajevskog Nar. Pozorišta,” Pregled, July 3, 1927, 7.
233
