Page 452 - 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. 452
vloga nacionalnih opernih gledališč v 20. in 21. stoletju
the evolution of the scholar’s view on the history of the Romanian Opera,
Bucharest. To this end, I read two sources in a comparative manner: 1) Op-
era românească [Romanian Opera] (two volumes, Bucharest: 1962), whose
approach is steeped in Marxist-Leninist ideology, and focuses on works of
Romanian opera; and 2) Hronicul Operei Române [The Chronicle of Roma-
nian Opera], (three volumes, Bucharest: 2003 – volume 1, 2017 – volumes
2 and 3), a very detailed chronicle of the Bucharest Opera (seasons, reper-
toires, soloists, managers, particular problems that faced the institution,
and so on), structured chronologically: from its beginnings as a Romanian
company (1885) to its proper establishment as a state institution in 1921 (vol-
ume 1); the years 1921-1953 (volume 2); and 1953-1970 (volume 3).
The historical period explored in both works of musicology, 1885-1960, is
marked by a series of key-events in the history of Romania, which also,
inevitably, left an impression on the Bucharest Opera: the Romantic na-
tionalism of the late 19th century, the two world wars, Romanian fascism
(1940-1944), followed by the installation and consolidation of the Commu-
nist Regime, as the country entered the Soviet sphere of influence (after
1944). Both works discuss the impact of these events on the Romanian Op-
era (both as an institution and as a musical genre), but from opposite ideo-
logical positions.
Keywords: Romanian Opera, totalitarian regimes in Romania, Romanian
fascism, Communist ideology
Tjaša Ribizel
The Reception of the Ljubljana Opera House Repertoire
by Critics in Slovenian Daily Newspapers from the end
of the World War II to the 1960s
The Slovene National Theatre Opera in Ljubljana is one of the musical in-
stitutions that were active in the period before the Second World War and
continued their work after 1945. A significant part of the activity of this in-
stitution is represented by the programmes performed in individual sea-
sons, which shared certain similarities while also presenting considerable
differences. The paper aims to shed light on individual performances from
these programmes, as seen through the lens of music criticism published in
daily newspapers at the time. As well as evaluating individual performanc-
es, music critics reveal aspects of the development of performance at the in-
stitution in a period that was a turbulent one for cultural history in general.
450
the evolution of the scholar’s view on the history of the Romanian Opera,
Bucharest. To this end, I read two sources in a comparative manner: 1) Op-
era românească [Romanian Opera] (two volumes, Bucharest: 1962), whose
approach is steeped in Marxist-Leninist ideology, and focuses on works of
Romanian opera; and 2) Hronicul Operei Române [The Chronicle of Roma-
nian Opera], (three volumes, Bucharest: 2003 – volume 1, 2017 – volumes
2 and 3), a very detailed chronicle of the Bucharest Opera (seasons, reper-
toires, soloists, managers, particular problems that faced the institution,
and so on), structured chronologically: from its beginnings as a Romanian
company (1885) to its proper establishment as a state institution in 1921 (vol-
ume 1); the years 1921-1953 (volume 2); and 1953-1970 (volume 3).
The historical period explored in both works of musicology, 1885-1960, is
marked by a series of key-events in the history of Romania, which also,
inevitably, left an impression on the Bucharest Opera: the Romantic na-
tionalism of the late 19th century, the two world wars, Romanian fascism
(1940-1944), followed by the installation and consolidation of the Commu-
nist Regime, as the country entered the Soviet sphere of influence (after
1944). Both works discuss the impact of these events on the Romanian Op-
era (both as an institution and as a musical genre), but from opposite ideo-
logical positions.
Keywords: Romanian Opera, totalitarian regimes in Romania, Romanian
fascism, Communist ideology
Tjaša Ribizel
The Reception of the Ljubljana Opera House Repertoire
by Critics in Slovenian Daily Newspapers from the end
of the World War II to the 1960s
The Slovene National Theatre Opera in Ljubljana is one of the musical in-
stitutions that were active in the period before the Second World War and
continued their work after 1945. A significant part of the activity of this in-
stitution is represented by the programmes performed in individual sea-
sons, which shared certain similarities while also presenting considerable
differences. The paper aims to shed light on individual performances from
these programmes, as seen through the lens of music criticism published in
daily newspapers at the time. As well as evaluating individual performanc-
es, music critics reveal aspects of the development of performance at the in-
stitution in a period that was a turbulent one for cultural history in general.
450
