Page 141 - Weiss, Jernej, ur. 2019. Vloga nacionalnih opernih gledališč v 20. in 21. stoletju - The Role of National Opera Houses in the 20th and 21st Centuries. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 3
P. 141
on the romanian opera, bucharest: one author, two views
1962 book, although in terms of “the Romanian school of canto and perfor-
mance,” rather than as a result of the work of “Soviet greats”:
Realist shows – with a clear social and historical understanding of
the period – have replaced costumed concerts. Singers employ the
principles of the authentic construction of characters […]. In this
sense, the Romanian school of canto and performance has enjoyed
well-earned success.39
A decade after the Decree of February 4-5 1952, which had established
socialist realism as the only method of composition acceptable in Romania,
Cosma analyzes the musical works of his compatriots through the filter of
the same doctrinaire imperatives. Alongside an analysis of the “indubita-
ble triumphs gained through the permanent guidance of the party,” as well
as “the faults that still persist in the field,” 40 Cosma also assumes the role
of adviser to opera, operetta and ballet composers. He calls for them to em-
body in their works “contemporary socialist life,” indicating thematic areas
that had been insufficiently or not at all tackled:
the heroic struggle of the working class, led by the Party against the
bourgeoisie has yet to be properly depicted; we still do not have an
opera of unquestionable value dedicated to the Communists that
gave their life while the Party was banned by law; there is still no
opera about the new life of our fatherland, about workers, peasants,
and intellectuals. […] The theme of the people’s struggle – guided
by the Party – towards the construction and fulfillment of socialism
has yet to be tackled.41
And the examples could go on.
When he offered such “advice” to Romanian composers, Cosma put
forward the example of Gheorghe Dumitrescu’s Fata cu garoafe [The Girl
with Carnations], an opera dedicated to the 40th anniversary of the Roma-
nian Communist Party.42 The libretto foregrounds a “young working-class
39 Cosma, Opera românească [Romanian Opera], vol. 2, 147.
40 Ibid., 151.
41 Ibid., 262-263.
42 The premiere took place on May 6 1961, with “the entire leading class, including
Gheorghe Gheorghiu-Dej” in attendance. Cosma, Hronicul Operei Române [The
Chronicle of Romanian Opera], vol. 3, 309.
139
1962 book, although in terms of “the Romanian school of canto and perfor-
mance,” rather than as a result of the work of “Soviet greats”:
Realist shows – with a clear social and historical understanding of
the period – have replaced costumed concerts. Singers employ the
principles of the authentic construction of characters […]. In this
sense, the Romanian school of canto and performance has enjoyed
well-earned success.39
A decade after the Decree of February 4-5 1952, which had established
socialist realism as the only method of composition acceptable in Romania,
Cosma analyzes the musical works of his compatriots through the filter of
the same doctrinaire imperatives. Alongside an analysis of the “indubita-
ble triumphs gained through the permanent guidance of the party,” as well
as “the faults that still persist in the field,” 40 Cosma also assumes the role
of adviser to opera, operetta and ballet composers. He calls for them to em-
body in their works “contemporary socialist life,” indicating thematic areas
that had been insufficiently or not at all tackled:
the heroic struggle of the working class, led by the Party against the
bourgeoisie has yet to be properly depicted; we still do not have an
opera of unquestionable value dedicated to the Communists that
gave their life while the Party was banned by law; there is still no
opera about the new life of our fatherland, about workers, peasants,
and intellectuals. […] The theme of the people’s struggle – guided
by the Party – towards the construction and fulfillment of socialism
has yet to be tackled.41
And the examples could go on.
When he offered such “advice” to Romanian composers, Cosma put
forward the example of Gheorghe Dumitrescu’s Fata cu garoafe [The Girl
with Carnations], an opera dedicated to the 40th anniversary of the Roma-
nian Communist Party.42 The libretto foregrounds a “young working-class
39 Cosma, Opera românească [Romanian Opera], vol. 2, 147.
40 Ibid., 151.
41 Ibid., 262-263.
42 The premiere took place on May 6 1961, with “the entire leading class, including
Gheorghe Gheorghiu-Dej” in attendance. Cosma, Hronicul Operei Române [The
Chronicle of Romanian Opera], vol. 3, 309.
139
