Page 239 - 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. 239
oper etta in sar ajevo between the two wor ld wars
Except for Paula Jesić52, an educated soprano, Aleksandar Cvetković,
the main operetta star and the only director who was re-engaged in 1934,
along with several singers, the other participants in operetta performances
included members of the choir and dramatic actors.
When Cvetković left in 1938 Lidija Mansvjetova53 took over the direct-
ing of operetta which, under her leadership, experienced a clear improve-
ment, becoming of a considerably higher quality than in previous seasons,
in terms of directing, acting, singing, and music (conductor Majer). Among
other reasons, the credit for this went to new members such as Stojan Jova-
nović (1900–?) and Vlada Zeljković (1906–?). Jovanović and Zeljković, to-
gether with the experienced Paula Jesić-Kosić, made up the backbone of the
operetta ensemble.54 The operetta ensemble of the National Theatre in Sa-
rajevo was completed in early 1941, when the singers Zahid Nalić55, Nada
Boškić56 and Regina Čanić57 were hired.
In the seasons 1937/1938 and 1938/1939, two new operettas were staged,
Mala Floramye by Ivo Tijardović (31 December 1937) and Ralph Erwin’s Ich
betrüg’ Dich nur aus Liebe (2 June 1938), along with revivals of Nedbal’s Po
lenblut (3 November 1938), and F. Lehár’s Das Land des Lächelns (19 January
1939). The last two seasons before the outbreak of the war saw premieres of
52 Paula Jesić-Kosić (1894–1978) was engaged from 1934, in drama and primarily in op-
eretta, and carried its entire repertoire until the outbreak of 1941 war. Josip Lešić,
“Jesić-Kosić Paula,” in Narodno pozorište Sarajevo 1921–1971, ed. Josip Lešić (Saraje-
vo: Narodno pozorište, 1971), 234.
53 Lidija Mansvjetova (1893–1966) was engaged in the 1926/1927 season and then again
from 1931 to 1946. She ended her career in Split in 1955. Josip Lešić, “Mansvjetova
Lidija,” in Narodno pozorište Sarajevo 1921–1971, ed. Josip Lešić (Sarajevo: Narodno
pozorište, 1971), 316–7.
54 Lešić, Sarajevsko pozorište između dva rata, vol. 2, 241.
55 Zahid Nalić (1906–1984) was recruited for operettas and pieces with singing in ear-
ly 1941. His lyrical tenor, exquisite interpretation of folk songs, and the repertoire
he sang brought him enormous popularity. From May 1942 to 1943 he was confined
in Jasenovac concentration camp. Upon the end of the war, he went to Russia. Safet
Pašalić and Žarko Ilić, “Nalić Zahid,” in Narodno pozorište Sarajevo 1921–1971, ed.
Josip Lešić (Sarajevo: Narodno pozorište, 1971), 360; A. V., “Ruski predstavnik na
Eurosongu porijeklom Tuzlak,” Tuzlainfo, https://www.tuzlainfo.ba/index.php/ar-
hiva/29-novosti/1200-ruski-predstavnik-na-eurosongu-porijeklom-tuzlak.
56 Nada Boškić (1915–?) was engaged from 1941 to 1943. Josip Lešić, “Boškić Nada,” in
Narodno pozorište Sarajevo 1921–1971, ed. Josip Lešić (Sarajevo: Narodno pozorište,
1971), 45.
57 Regina Čanić (1914–?) was engaged from 1941 to 1943, when she went to the Croa-
tian National Theatre in Zagreb. Josip Lešić, “Čanić Regina,” in Narodno pozorište
Sarajevo 1921–1971, ed. Josip Lešić (Sarajevo: Narodno pozorište, 1971), 68.
237
Except for Paula Jesić52, an educated soprano, Aleksandar Cvetković,
the main operetta star and the only director who was re-engaged in 1934,
along with several singers, the other participants in operetta performances
included members of the choir and dramatic actors.
When Cvetković left in 1938 Lidija Mansvjetova53 took over the direct-
ing of operetta which, under her leadership, experienced a clear improve-
ment, becoming of a considerably higher quality than in previous seasons,
in terms of directing, acting, singing, and music (conductor Majer). Among
other reasons, the credit for this went to new members such as Stojan Jova-
nović (1900–?) and Vlada Zeljković (1906–?). Jovanović and Zeljković, to-
gether with the experienced Paula Jesić-Kosić, made up the backbone of the
operetta ensemble.54 The operetta ensemble of the National Theatre in Sa-
rajevo was completed in early 1941, when the singers Zahid Nalić55, Nada
Boškić56 and Regina Čanić57 were hired.
In the seasons 1937/1938 and 1938/1939, two new operettas were staged,
Mala Floramye by Ivo Tijardović (31 December 1937) and Ralph Erwin’s Ich
betrüg’ Dich nur aus Liebe (2 June 1938), along with revivals of Nedbal’s Po
lenblut (3 November 1938), and F. Lehár’s Das Land des Lächelns (19 January
1939). The last two seasons before the outbreak of the war saw premieres of
52 Paula Jesić-Kosić (1894–1978) was engaged from 1934, in drama and primarily in op-
eretta, and carried its entire repertoire until the outbreak of 1941 war. Josip Lešić,
“Jesić-Kosić Paula,” in Narodno pozorište Sarajevo 1921–1971, ed. Josip Lešić (Saraje-
vo: Narodno pozorište, 1971), 234.
53 Lidija Mansvjetova (1893–1966) was engaged in the 1926/1927 season and then again
from 1931 to 1946. She ended her career in Split in 1955. Josip Lešić, “Mansvjetova
Lidija,” in Narodno pozorište Sarajevo 1921–1971, ed. Josip Lešić (Sarajevo: Narodno
pozorište, 1971), 316–7.
54 Lešić, Sarajevsko pozorište između dva rata, vol. 2, 241.
55 Zahid Nalić (1906–1984) was recruited for operettas and pieces with singing in ear-
ly 1941. His lyrical tenor, exquisite interpretation of folk songs, and the repertoire
he sang brought him enormous popularity. From May 1942 to 1943 he was confined
in Jasenovac concentration camp. Upon the end of the war, he went to Russia. Safet
Pašalić and Žarko Ilić, “Nalić Zahid,” in Narodno pozorište Sarajevo 1921–1971, ed.
Josip Lešić (Sarajevo: Narodno pozorište, 1971), 360; A. V., “Ruski predstavnik na
Eurosongu porijeklom Tuzlak,” Tuzlainfo, https://www.tuzlainfo.ba/index.php/ar-
hiva/29-novosti/1200-ruski-predstavnik-na-eurosongu-porijeklom-tuzlak.
56 Nada Boškić (1915–?) was engaged from 1941 to 1943. Josip Lešić, “Boškić Nada,” in
Narodno pozorište Sarajevo 1921–1971, ed. Josip Lešić (Sarajevo: Narodno pozorište,
1971), 45.
57 Regina Čanić (1914–?) was engaged from 1941 to 1943, when she went to the Croa-
tian National Theatre in Zagreb. Josip Lešić, “Čanić Regina,” in Narodno pozorište
Sarajevo 1921–1971, ed. Josip Lešić (Sarajevo: Narodno pozorište, 1971), 68.
237
