Page 336 - 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
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opereta med obema svetovnima vojnama
Table 4: Most frequently performed foreign operettas (in terms of number of repeat
performances) at the National Theatre Opera in Ljubljana between the wars.
Most frequently performed foreign operettas Number of repeat performances
at the National Theatre Opera in Ljubljana
86
Kálmán: Gräfin Mariza 50
Strauss: Die Fledermaus 45
Beneš: Auf der grünen Wiese 42
Beneš: Der heilige Antonius 40
Nedbal: Polenblut 38
Abraham: Ball im Savoy 36
Tijardovic: Mala Floramye 32
Zeller: Der Vogelhändler 29
Abraham: Viktória 27
Suppé: Boccaccio 25
Lehár: Frasquita 24
Beneš: Die kleine Schwindlerin 22
Millöcker: Der Bettelstudent
Table 5: Most frequently performed Slovene operettas (in terms of number of repeat
performances) at the National Theatre Opera in Ljubljana between the wars.
Most frequently performed Slovene operettas Number of repeat performances
at the National Theatre Opera in Ljubljana
17
Gregorc: Erika 14
Dobeic: Ančka 14
Šivic: Oj, ta prešmentana ljubezen 12
Golovin, Leskovic: Helteja (Smaragdno srce) 9
Parma: Amaconke 3
Šantel: Blejski zvon
It appears that the more successful organization of the Ljubljana the-
atre in terms of personnel and finances was a key factor that enabled it to
function in a more continuous fashion and, consequently, to tackle more
demanding scores. On the other hand, the less than impressive percent-
age of operetta premieres in Ljubljana was almost certainly in part due to
the artistic vision of the theatre’s then director Mirko Polič, whose primary
focus was on the performance of the latest operatic works. As a result, the
first Slovene operetta to be performed in Ljubljana between the wars (P avel
Šivič’s Oj, ta prešmentana ljubezen) was staged more than a decade later
than in Maribor, a fact that gives further support to the thesis that the op-
eretta tradition was not as marked in the capital city as it was in the capital
334
Table 4: Most frequently performed foreign operettas (in terms of number of repeat
performances) at the National Theatre Opera in Ljubljana between the wars.
Most frequently performed foreign operettas Number of repeat performances
at the National Theatre Opera in Ljubljana
86
Kálmán: Gräfin Mariza 50
Strauss: Die Fledermaus 45
Beneš: Auf der grünen Wiese 42
Beneš: Der heilige Antonius 40
Nedbal: Polenblut 38
Abraham: Ball im Savoy 36
Tijardovic: Mala Floramye 32
Zeller: Der Vogelhändler 29
Abraham: Viktória 27
Suppé: Boccaccio 25
Lehár: Frasquita 24
Beneš: Die kleine Schwindlerin 22
Millöcker: Der Bettelstudent
Table 5: Most frequently performed Slovene operettas (in terms of number of repeat
performances) at the National Theatre Opera in Ljubljana between the wars.
Most frequently performed Slovene operettas Number of repeat performances
at the National Theatre Opera in Ljubljana
17
Gregorc: Erika 14
Dobeic: Ančka 14
Šivic: Oj, ta prešmentana ljubezen 12
Golovin, Leskovic: Helteja (Smaragdno srce) 9
Parma: Amaconke 3
Šantel: Blejski zvon
It appears that the more successful organization of the Ljubljana the-
atre in terms of personnel and finances was a key factor that enabled it to
function in a more continuous fashion and, consequently, to tackle more
demanding scores. On the other hand, the less than impressive percent-
age of operetta premieres in Ljubljana was almost certainly in part due to
the artistic vision of the theatre’s then director Mirko Polič, whose primary
focus was on the performance of the latest operatic works. As a result, the
first Slovene operetta to be performed in Ljubljana between the wars (P avel
Šivič’s Oj, ta prešmentana ljubezen) was staged more than a decade later
than in Maribor, a fact that gives further support to the thesis that the op-
eretta tradition was not as marked in the capital city as it was in the capital
334
