Page 300 - 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. 300
vloga nacionalnih opernih gledališč v 20. in 21. stoletju
nally worked for him as Hilfsmusiker. He also consulted Arturo Vigna, at
that time the director of music at the Teatro alla Scala in Milan, on a few
occasions.24 Talich’s duties with the Slovenian Philharmonic and the Pro-
vincial Theatre were taken over in the 1910/11 season by his countryman Ed-
vard Čajánek and the young and supremely ambitious conductor Friderik
Reiner, later known as Fritz Reiner.
Talich’s final season (1911/12) in Ljubljana
Talich decided to return to Ljubljana only when Reiner returned to the
Népopera in Budapest after the end of the 1910/11 season. That Talich was
truly the spiritus agens of the Slovenian Philharmonic Orchestra was cle-
arly demonstrated during the season in which he was absent, when the or-
chestra gave just one independent concert in more than 200 appearances.
But conditions in the orchestra did not improve significantly even after Ta-
lich’s return, with audience interest and support remaining modest.
The situation at the Slovene Provincial Theatre could not have been
more different, and an interesting and varied programme meant that the
new management, headed by Talich, almost always succeeded in filling the
opera house – by contrast, performances at the German Provincial Thea-
tre only drew an audience for the first performance, and occasionally the
second. Besides the classic operas of Mozart and Wagner, which always su-
cceeded in attracting an audience,25 the attention of Ljubljana critics in the
1911/12 season was captured in particular by a production of Smetana’s The
Bartered Bride, which enjoyed seven repeat performances.26 Dvořák was
another of the great Czech composers to find his way onto the Slovene ope-
ratic stage. For the most part his music had hitherto been known to the Lju-
bljana audience from concerts alone. If the premiere performance of Ru-
salka in the 1907/08 season had been less than successful, Talich’s Rusalka,
directed by the Czech tenor František Krampera, found an enthusiastic au-
dience and was described by critics as the “loveliest work that this season
has offered us.”27 The new management under Talich also devoted particu-
lar attention to works by Slovene composers. Viktor Parma’s Ksenija, di-
24 Ibid., 404.
25 Lah, “Slovensko-nemška dihotomija v Deželnem gledališču v Ljubljani,” 106.
26 Moravec (ed.), Repertoar slovenskih gledališč 1867–1967, 201.
27 Anton Lajovic, “Gledališče.”, Novi akordi: glasbeno-književna priloga 11 (1912), 3: 25.
The work was repeated five times in a month. Moravec (ed.), Repertoar slovenskih gle-
dališč 1867–1967, 202.
298
nally worked for him as Hilfsmusiker. He also consulted Arturo Vigna, at
that time the director of music at the Teatro alla Scala in Milan, on a few
occasions.24 Talich’s duties with the Slovenian Philharmonic and the Pro-
vincial Theatre were taken over in the 1910/11 season by his countryman Ed-
vard Čajánek and the young and supremely ambitious conductor Friderik
Reiner, later known as Fritz Reiner.
Talich’s final season (1911/12) in Ljubljana
Talich decided to return to Ljubljana only when Reiner returned to the
Népopera in Budapest after the end of the 1910/11 season. That Talich was
truly the spiritus agens of the Slovenian Philharmonic Orchestra was cle-
arly demonstrated during the season in which he was absent, when the or-
chestra gave just one independent concert in more than 200 appearances.
But conditions in the orchestra did not improve significantly even after Ta-
lich’s return, with audience interest and support remaining modest.
The situation at the Slovene Provincial Theatre could not have been
more different, and an interesting and varied programme meant that the
new management, headed by Talich, almost always succeeded in filling the
opera house – by contrast, performances at the German Provincial Thea-
tre only drew an audience for the first performance, and occasionally the
second. Besides the classic operas of Mozart and Wagner, which always su-
cceeded in attracting an audience,25 the attention of Ljubljana critics in the
1911/12 season was captured in particular by a production of Smetana’s The
Bartered Bride, which enjoyed seven repeat performances.26 Dvořák was
another of the great Czech composers to find his way onto the Slovene ope-
ratic stage. For the most part his music had hitherto been known to the Lju-
bljana audience from concerts alone. If the premiere performance of Ru-
salka in the 1907/08 season had been less than successful, Talich’s Rusalka,
directed by the Czech tenor František Krampera, found an enthusiastic au-
dience and was described by critics as the “loveliest work that this season
has offered us.”27 The new management under Talich also devoted particu-
lar attention to works by Slovene composers. Viktor Parma’s Ksenija, di-
24 Ibid., 404.
25 Lah, “Slovensko-nemška dihotomija v Deželnem gledališču v Ljubljani,” 106.
26 Moravec (ed.), Repertoar slovenskih gledališč 1867–1967, 201.
27 Anton Lajovic, “Gledališče.”, Novi akordi: glasbeno-književna priloga 11 (1912), 3: 25.
The work was repeated five times in a month. Moravec (ed.), Repertoar slovenskih gle-
dališč 1867–1967, 202.
298
