Page 451 - 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. 451
summaries
Gregor Pompe
Analysis of the Repertoire of the Ljubljana opera
since the Establishment of the Drama Society until Today
The beginnings of the Slovenian operatic performances can be connected
with the establishment of the Dramatic Society, which wanted to perform
also the musical-theatrical works. The main goal of the article is to shed
light on the specifics of the repertoire of the Ljubljana opera house. The first
task was to delineate the clear historical periods with the own contextu-
al characteristics. It becomes clear that the specifics of the repertoire in the
selected historical periods are somehow connected with the social aspects.
The material was therefore divided into five historical periods: from the es-
tablishment of the Dramatic society till move to the newly built Provincial
theatre, from move into the new Provincial theatre till the beginning of the
First World War, the time between both World Wars, from the end of the
Second World War till independence of Slovenia, from independence till
nowadays. Of special importance were the questions of the share of the Slo-
venian operas, the importance of „lighter“ genres, the actuality of the rep-
ertoire, national diversification. The answers to this questions reveal the
main specifics of the repertoire of the Ljubljana Opera house: the predom-
inance of the Slavonic repertoire (Smetana‘s Bartered Bride is the most of-
ten performed opera), late introduction of the classical opera, rare perfor-
mances of the Baroque opera and different genres of contemporary works,
after the Second World War total neglect of „heavy“ German repertoire (es-
pecially R. Wagner and R. Strauss). Most of these specifics are connected
to the special status of the opera in the time after the Second Wolrd War.
The new regime did not impose direct demands on the repertoire of opera,
but the budget of the opera and therefore its social importance were severe-
ly brought down, hence opera (as a genre and as an institution) sunk into
the fringe.
Keywords: Ljubljana Opera house, Dramatic society, opera, 20th-century
music
Florinela Popa
On the Romanian Opera, Bucharest: One Author, Two
Views
An unusually prolific scholar, whose work has tackled the history of Roma-
nian music in numerous volumes, Octavian Lazăr Cosma (b. 1933) has also
championed exploring the “national opera.” This paper proposes to chart
449
Gregor Pompe
Analysis of the Repertoire of the Ljubljana opera
since the Establishment of the Drama Society until Today
The beginnings of the Slovenian operatic performances can be connected
with the establishment of the Dramatic Society, which wanted to perform
also the musical-theatrical works. The main goal of the article is to shed
light on the specifics of the repertoire of the Ljubljana opera house. The first
task was to delineate the clear historical periods with the own contextu-
al characteristics. It becomes clear that the specifics of the repertoire in the
selected historical periods are somehow connected with the social aspects.
The material was therefore divided into five historical periods: from the es-
tablishment of the Dramatic society till move to the newly built Provincial
theatre, from move into the new Provincial theatre till the beginning of the
First World War, the time between both World Wars, from the end of the
Second World War till independence of Slovenia, from independence till
nowadays. Of special importance were the questions of the share of the Slo-
venian operas, the importance of „lighter“ genres, the actuality of the rep-
ertoire, national diversification. The answers to this questions reveal the
main specifics of the repertoire of the Ljubljana Opera house: the predom-
inance of the Slavonic repertoire (Smetana‘s Bartered Bride is the most of-
ten performed opera), late introduction of the classical opera, rare perfor-
mances of the Baroque opera and different genres of contemporary works,
after the Second World War total neglect of „heavy“ German repertoire (es-
pecially R. Wagner and R. Strauss). Most of these specifics are connected
to the special status of the opera in the time after the Second Wolrd War.
The new regime did not impose direct demands on the repertoire of opera,
but the budget of the opera and therefore its social importance were severe-
ly brought down, hence opera (as a genre and as an institution) sunk into
the fringe.
Keywords: Ljubljana Opera house, Dramatic society, opera, 20th-century
music
Florinela Popa
On the Romanian Opera, Bucharest: One Author, Two
Views
An unusually prolific scholar, whose work has tackled the history of Roma-
nian music in numerous volumes, Octavian Lazăr Cosma (b. 1933) has also
championed exploring the “national opera.” This paper proposes to chart
449
