Page 400 - 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. 400
vloga nacionalnih opernih gledališč v 20. in 21. stoletju
pertoire: Ludwig van Beethoven, Georges Bizet, Benjamin Britten, Marc-
-Antoine Charpentiere, Eugene D’Albert, Anton Foerster, Umberto Gior-
dano, Mikhail Glinka, Leoš Janáček, Jules Massenet, Wolfgang A. Mozart,
Mirko Polič, Heinrich Sutermeister, and Ermanno Wolf-Ferrari. The works
of these composers replaced those from the initial period. According to the
SNG director of the time, Mirko Polič, they aimed to “build a general re-
pertoire” 4 and include works that were, in his opinion, “crucial for a truth-
ful development of our work.” 5
This expansion of the repertoire was also welcomed by critics, who de-
emed it to be a tangible achievement:
By installing The Fair at Sorochinski, this year’s exceedingly rele-
vant and vast repertoire was further improved. Beethoven’s classi-
cal opera Fidelio; the highlights of romantic operatic creativity,
Carmen, the operatic type, and Onegin, the lyrical type; the Italian
and French sentimental operas from the end of the previous century
as well as the patriotist comical plays The Bartered Bride and our
own Ero the Joker were all joined by a new type of psychological-
ly imbued folk opera that uses pristine temperaments, down-to-e-
arth expressions, and vigorous music as a much-needed sieve aga-
inst mush, pathos, and stylization. 6
According to Pavel Šivic, the 1949/50 season saw no more “ailing, un-
foundedness, unsophistication.”7 The repertoire was not only well-received
by critics, but also by the audience:
The audience was very much in favor of Massenet’s work this time
around as well. This, however, does not hold for Ero the Joker. […]
Today, […] Gotovac’s simple opera performs pioneering cultural
work, in particular due to its priceless folklore gems. […] Hence
the enthusiasm. […] The case of Le donne curiose is very different
though. It features the meeting of two congenial artists of diffe-
rent epochs, the two-hundred-year-old Goldoni and the still living
Wolf-Ferrari. […] The best common trait of all three premieres is
4 “Razgovor z direktorjem ljubljanske opere Mirkom Poličem,” Slovenski poročevalec,
nr. 229, 28. 9. 1947, 7.
5 Ibid.
6 Pavel Šivic, “Musorgski: ‘Soročinski sejem’,” Slovenski poročevalec, nr. 26, 1. 2. 1949, 3.
7 Idem, “Po zaključku operne sezone,” Slovenski poročevalec, nr. 174, 24. 7. 1950, 2.
398
pertoire: Ludwig van Beethoven, Georges Bizet, Benjamin Britten, Marc-
-Antoine Charpentiere, Eugene D’Albert, Anton Foerster, Umberto Gior-
dano, Mikhail Glinka, Leoš Janáček, Jules Massenet, Wolfgang A. Mozart,
Mirko Polič, Heinrich Sutermeister, and Ermanno Wolf-Ferrari. The works
of these composers replaced those from the initial period. According to the
SNG director of the time, Mirko Polič, they aimed to “build a general re-
pertoire” 4 and include works that were, in his opinion, “crucial for a truth-
ful development of our work.” 5
This expansion of the repertoire was also welcomed by critics, who de-
emed it to be a tangible achievement:
By installing The Fair at Sorochinski, this year’s exceedingly rele-
vant and vast repertoire was further improved. Beethoven’s classi-
cal opera Fidelio; the highlights of romantic operatic creativity,
Carmen, the operatic type, and Onegin, the lyrical type; the Italian
and French sentimental operas from the end of the previous century
as well as the patriotist comical plays The Bartered Bride and our
own Ero the Joker were all joined by a new type of psychological-
ly imbued folk opera that uses pristine temperaments, down-to-e-
arth expressions, and vigorous music as a much-needed sieve aga-
inst mush, pathos, and stylization. 6
According to Pavel Šivic, the 1949/50 season saw no more “ailing, un-
foundedness, unsophistication.”7 The repertoire was not only well-received
by critics, but also by the audience:
The audience was very much in favor of Massenet’s work this time
around as well. This, however, does not hold for Ero the Joker. […]
Today, […] Gotovac’s simple opera performs pioneering cultural
work, in particular due to its priceless folklore gems. […] Hence
the enthusiasm. […] The case of Le donne curiose is very different
though. It features the meeting of two congenial artists of diffe-
rent epochs, the two-hundred-year-old Goldoni and the still living
Wolf-Ferrari. […] The best common trait of all three premieres is
4 “Razgovor z direktorjem ljubljanske opere Mirkom Poličem,” Slovenski poročevalec,
nr. 229, 28. 9. 1947, 7.
5 Ibid.
6 Pavel Šivic, “Musorgski: ‘Soročinski sejem’,” Slovenski poročevalec, nr. 26, 1. 2. 1949, 3.
7 Idem, “Po zaključku operne sezone,” Slovenski poročevalec, nr. 174, 24. 7. 1950, 2.
398
