Page 226 - 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
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vloga nacionalnih opernih gledališč v 20. in 21. stoletju
talking about folk music, they are not wrong, because all their mu-
sic is the fruit of professional musicians […].14
Josip Mandić and Pan-Slavism in Trieste
Kuhač was in Trieste for a series of reports printed in 1892 by the periodi-
cal Vijenac.15 Even if he visited most part of the Hapsburg Empire and the
Balkan lands, he came to Trieste with the charge of describing the nation-
al exhibition of art and crafts of the Austrian empire, and settled in the free
port of Austria. In particular, he was interested in writing on the Slavic re-
gional pavilions, and on the Croatian firms. Different was the case of Jo-
sip Mandić. He was born in Trieste in a bourgeois family of inner Istria.
After attending a primary German school in his native town, he moved
to Sušak and Zagreb for high school, and finally he graduated in Vienna,
where his studies included composition under the guidance of Hermann
Grädner and Robert Fuchs. Before living in Prague, he worked in Trieste as
a lawyer until World War I. Following in the footsteps of his father and un-
cle Matko, he was politically engaged in upholding the interests of Slovenes
and Croats. His opera Petar Svačić was played in a concert held by the soci-
ety Dalmatinski skup at the Rossetti Theatre in Trieste (1903). The Dalma-
tian Society was founded by the Croats of Trieste, whose activities were also
supported by Slovenes and Serbs in a common effort to oppose German
and Italian cultural domination. Reports on the concert in the Croatian
and Slovenian newspapers of Trieste welcomed the event as a sign of the
growing cultural and economic power of these communities. Also, the Ital-
ian and German newspapers wrote positively about the concert, praising
the composer’s promising talent.16 Petar Svačić could not be staged in Za-
greb, since the Hungarian governor of Croatia, Károly Khuen-Héderváry,
abolished opera performances from 1902 up to 1909. Instead of Zagreb, Pe-
14 Kuhač, “Nova glazbena struja njemačka i sadašnji talijanski kompozitori,” 7.
15 Franjo Ksaver Kuhač, “Trsćanska izložba,” Vijenac 14, no 36 (1882): 583, no 37: 590–
3, no 38: 612–15.
16 The reviews published by Edinost, “Koncert Dalmatinskega skupa”, Trieste, “La fes-
ta del Club Dalmatino”, and once again by Edinost, “O koncertu Dalmatinskega sku-
pa” (the latter is a translation of the article published in Triester Zeitung) are record-
ed in Natka Badurina, “Teatro e politica ai margini dell’impero: l’opera lirica Petar
Svačić nel 1903,” I croati a Trieste, 386–7.
224
talking about folk music, they are not wrong, because all their mu-
sic is the fruit of professional musicians […].14
Josip Mandić and Pan-Slavism in Trieste
Kuhač was in Trieste for a series of reports printed in 1892 by the periodi-
cal Vijenac.15 Even if he visited most part of the Hapsburg Empire and the
Balkan lands, he came to Trieste with the charge of describing the nation-
al exhibition of art and crafts of the Austrian empire, and settled in the free
port of Austria. In particular, he was interested in writing on the Slavic re-
gional pavilions, and on the Croatian firms. Different was the case of Jo-
sip Mandić. He was born in Trieste in a bourgeois family of inner Istria.
After attending a primary German school in his native town, he moved
to Sušak and Zagreb for high school, and finally he graduated in Vienna,
where his studies included composition under the guidance of Hermann
Grädner and Robert Fuchs. Before living in Prague, he worked in Trieste as
a lawyer until World War I. Following in the footsteps of his father and un-
cle Matko, he was politically engaged in upholding the interests of Slovenes
and Croats. His opera Petar Svačić was played in a concert held by the soci-
ety Dalmatinski skup at the Rossetti Theatre in Trieste (1903). The Dalma-
tian Society was founded by the Croats of Trieste, whose activities were also
supported by Slovenes and Serbs in a common effort to oppose German
and Italian cultural domination. Reports on the concert in the Croatian
and Slovenian newspapers of Trieste welcomed the event as a sign of the
growing cultural and economic power of these communities. Also, the Ital-
ian and German newspapers wrote positively about the concert, praising
the composer’s promising talent.16 Petar Svačić could not be staged in Za-
greb, since the Hungarian governor of Croatia, Károly Khuen-Héderváry,
abolished opera performances from 1902 up to 1909. Instead of Zagreb, Pe-
14 Kuhač, “Nova glazbena struja njemačka i sadašnji talijanski kompozitori,” 7.
15 Franjo Ksaver Kuhač, “Trsćanska izložba,” Vijenac 14, no 36 (1882): 583, no 37: 590–
3, no 38: 612–15.
16 The reviews published by Edinost, “Koncert Dalmatinskega skupa”, Trieste, “La fes-
ta del Club Dalmatino”, and once again by Edinost, “O koncertu Dalmatinskega sku-
pa” (the latter is a translation of the article published in Triester Zeitung) are record-
ed in Natka Badurina, “Teatro e politica ai margini dell’impero: l’opera lirica Petar
Svačić nel 1903,” I croati a Trieste, 386–7.
224
