Page 437 - 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. 437
summaries
ovac, Lovro Matačić and Boris Papandopulo in Zagreb. There were quite
a lot operas and operettas on the repertoire, in both towns 61. There were
as many as 18 works in the repertoare of both Opera houses. Ljubljana was
more open to operas by Slavic composers, while Zagreb forced Croatian
works, and kept up with trends in contemporary operas. Both cities host-
ed the Royal Opera House from Rome (today Teatro dell‘Opera di Roma)
in 1941; and unlike Ljubljana, Zagreb Opera made guest appereances in It-
aly and in Vienna, with performances of Croatian operas. The war didn‘t
stop traditional exchange of Croatian and Slovenian singers in both cities,
but it did change lifes of some artists: some were arrested at the beginning
of the war, and others died in the period of revenge and punishments of the
new regime in 1945.
Keywords: World War II, opera, Ljubljana, Zagreb
Ivano Cavallini
The Italian “National Opera” Imagined from a Southern
Slavic Viewpoint: Franjo Ks. Kuhač and Josip Mandić
The national awakening after the revolutions of 1848, and the related phe-
nomenon of new operatic grammar disseminated from Russia and Bohe-
mia to other countries of Central Europe, were the main factors in promot-
ing a quest of musical autonomy either in Slovenia or in Croatia.
In the light of the Southern Slavic people revival, the criticisms on the Ital-
ian opera and the Wagnerian Musikdrama, written by the prominent mu-
sicologist Franjo Kuhač, and the composer Josip Mandić (1883-1959), reveal
two parallel points of view, which have not been taken into account until
today.
The negative judgement of Kuhač on the last works of Verdi, influenced by
Wagner formulae, and the praise of Mascagni’s Cavalleria rusticana, are
due to his ideological ‘Credo’ on folk music, as the main source in view of
creating a national style for opera. However, the lack of knowledge of the
true traditional music of the Italian people mislead Kuhač, who believed
that popular music in Italy largely depended on opera. Nevertheless, the
writing “Nova glazbena struja njemačka i sadašnji talijanski kompozitori”
(New Musical Trends in Germany and Contemporary Italian Composers)
is a remarkable analysis of Verdi’s and Mascagni’s oeuvres.
Josip Mandić, a Croatian lawyer and musician, worked within the frame of
Slovene and Pan-Slavic revival in Trieste until World War I. His opera Pe-
tar Svačić was played first in Trieste (1902), and then in Ljubljana (1904). He
435
ovac, Lovro Matačić and Boris Papandopulo in Zagreb. There were quite
a lot operas and operettas on the repertoire, in both towns 61. There were
as many as 18 works in the repertoare of both Opera houses. Ljubljana was
more open to operas by Slavic composers, while Zagreb forced Croatian
works, and kept up with trends in contemporary operas. Both cities host-
ed the Royal Opera House from Rome (today Teatro dell‘Opera di Roma)
in 1941; and unlike Ljubljana, Zagreb Opera made guest appereances in It-
aly and in Vienna, with performances of Croatian operas. The war didn‘t
stop traditional exchange of Croatian and Slovenian singers in both cities,
but it did change lifes of some artists: some were arrested at the beginning
of the war, and others died in the period of revenge and punishments of the
new regime in 1945.
Keywords: World War II, opera, Ljubljana, Zagreb
Ivano Cavallini
The Italian “National Opera” Imagined from a Southern
Slavic Viewpoint: Franjo Ks. Kuhač and Josip Mandić
The national awakening after the revolutions of 1848, and the related phe-
nomenon of new operatic grammar disseminated from Russia and Bohe-
mia to other countries of Central Europe, were the main factors in promot-
ing a quest of musical autonomy either in Slovenia or in Croatia.
In the light of the Southern Slavic people revival, the criticisms on the Ital-
ian opera and the Wagnerian Musikdrama, written by the prominent mu-
sicologist Franjo Kuhač, and the composer Josip Mandić (1883-1959), reveal
two parallel points of view, which have not been taken into account until
today.
The negative judgement of Kuhač on the last works of Verdi, influenced by
Wagner formulae, and the praise of Mascagni’s Cavalleria rusticana, are
due to his ideological ‘Credo’ on folk music, as the main source in view of
creating a national style for opera. However, the lack of knowledge of the
true traditional music of the Italian people mislead Kuhač, who believed
that popular music in Italy largely depended on opera. Nevertheless, the
writing “Nova glazbena struja njemačka i sadašnji talijanski kompozitori”
(New Musical Trends in Germany and Contemporary Italian Composers)
is a remarkable analysis of Verdi’s and Mascagni’s oeuvres.
Josip Mandić, a Croatian lawyer and musician, worked within the frame of
Slovene and Pan-Slavic revival in Trieste until World War I. His opera Pe-
tar Svačić was played first in Trieste (1902), and then in Ljubljana (1904). He
435
