Bugarski pjevači na hrvatskoj opernoj sceni: = Bălgarski pevci na chărvatskata operna scena
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Croatian Bulgarian |
| Veröffentlicht: |
Zagreb
Hrvatsko-Bugarsko Društvo
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Text bulg. und kroat. - Zsfassung in engl. Sprache u.d.T.: Bulgarian singers on the Croatian opera scene |
| Beschreibung: | 303 S. Ill. |
| ISBN: | 953992412X |
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Datensatz im Suchindex
| _version_ | 1806960610983804928 |
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| adam_text |
KAZALO
·
СЪДЪРЖАНИЕ
PREDGOVOR
—
Akademik
Dalibor
Brozović
PREDGOVOR
—
Dr.
Ала
Lederer
UVOD
10
12
14
Академик Далибор Брозович
—
ПРЕДГОВОР
д-р Ана Ледерер
—
ПРЕДГОВОР
УВОД
PRVI
DIO
1920. — 1945.
ПЪРВА ЧАСТ
Petar Raičev
Stojan
Kolárov
19
29
Петър Райчев
Стоян Коларов
Marko
Markov
Marija Milkova-Zolotović
Mirni Balkanska
Jelisaveta Jovović-Kovačevska
Julija
Dimitrova-Ilijeva
Todor Mazarov
Boj ka
Konstantinova
Vanja Leventova
Mihail
Popov
Nelly
Karová
Ljuben Minčev
37
37
38
39
39
39
40
40
41
42
42
Марко Марков
Мария Милкова-Золотович
Мими Балканска
Елисавета Йовович-Ковачевска
Юлия Димитрова-Илиева
Тодор Мазаров
Бойка Константинова
Ваня Левенто
Михаил Попов
Нели Карова
Любен Минчев
DRUGI
DIO
ВТОРА ЧАСТ
Marijana Radev
Gregor Radev
53
87
11'.
Λ
J
III I l.\
1)1, Vi'
Мариана Радева
Грегор Радев
TREĆI
DIO
1945. — 2006.
ТРЕТА
ЧАСТ
Jana
Puleva
Boris Marinov
Filka Dimitrova-Pletikosic
Ivan
Štefanov
Elena Hristova
Anastasija Božikova
(Dimitrova)
Georgi
Bôžikov
Cvjetana Dukova
Репка
Turnšek
Petj a
Tataj
Neško Nešev
Stojan
Stojanov
Veneta
Janeva
Iveljić
95
109
115
127
143
151
159
159
161
161
161
163
189
Яна Пулев
Борис Маринов
Филка Димитрова-Плетикосич
Иван Стефанов
Елена Христова
Анастасия Димитрова-Божикова
Георги Божиков
Цветанка Дукова
Пенка Турншек
Петя Татай
Нешко Нешев
Стоян Стоянов (Ганчев)
Венета Янева-Ивелич
Zlatomira Nikolova
Valentin Enčev
215
235
Златомира Николова
Валентин Енчев
Mihail
Popov
Hristo Brmbarov
Rajna Mihajlova
Ilija Josifov
Dimitar Uzunov
Nikola Nikolov
Ljubomir Bodurov
Nikola Gjuzelev
Julija
Viner
(Wiener-Čeniäeva)
Katja
Popova
Nikolaj Zdravkov
Petja Ivanova
Jordan Znamenov
Ljiljana
Bareva
Resa Koleva
Margarita
Lilová
Pali Marinov
Milkana Nikolova
251
251
251
251
252
253
254
257
258
258
259
259
259
260
260
260
261
261
Михаил
Попов
Христо Бръмбаров
Райна Михайлова
Илия Йосифов
Димитър Узунов
Никола Николов
Любомир Бодуров
Никола Гюзелев
Юлия Винер-Ченишева
Катя
Попова
Николай Здравков
Петя Иванова
Йордан Знаменов
Лиляна Барева
Реса Колева
Маргарита Лилова
Пали Маринов
Милкана Николова
Todor Rostov
Kiril
Krstev
Ljuba Zlateva Rogleva
Hristofor Mančev Roglev
Dimitar Argirov
Ivan Hristov
261
261
261
261
261
261
Тодор Костов
Кирил Кръстев
Люба Златева Роглева
Христофор Манчев Роглев
Димитър Аргиров
Иван Христов
Stefan
Stefanoff
Borislav
Aleksandrov
Dimitri
Damjanov
Ženi Živkova
Stojan
Popov
Penka Dilova
Ivan Konsulov
Bajna Kabaivanska
Bojko Cvetanov
Svetlana Kotlenko
Wessela
Zlateva
Božidar Nikolov
Galia
Gorćeva
Svetla Vassileva
Anton Zdravkov
Vasil Marčev
Nikola Vasilev
Evdokija Zdravkova Horozova
Kaludi Kaludov
Nelly
Boškova
Denčo Belev
Rumen Dojkov
Ivan Velčev
Živko Prančev
Živko Želev
Ivan Mutafčiev
Sonia
Marinova
Gabriela
Georgieva
Kamen Čanev
Kiril
Manolov
274
274
275
275
275
275
276
276
277
277
278
278
278
278
279
279
279
279
279
279
280
280
280
280
280
280
280
280
281
281
Стефан Стефанов
Борислав Александров
Димитър Дамянов
Жени Живкова
Стоян Попов
Пенка Дилова
Иван Консулов
Райна Кабаиванска
Бойко Цветанов
Светлана Котленко
Весела Златева
Божидар Николов
Галя Горчева
Светла Василева
Антон Здравков
Васил Марчев
Никола Василев
Евдокия
Здравкова Хорозова
Калуди Калудов
Нели Божкова
Денчо
Белев
Румен Дойков
Иван Велчев
Живко Пранчев
Живко Желев
Иван Мутафчиев
Соня Маринова
Габриела Георгиева
Камен Чанев
Кирил Манолов
SUMMARY
О
AUTORICI
IZVORI
291
300
302
ЗА АВТОРАКАТА
ИЗТОЧНИЦИ
Petar
Raiŕrv
Петіф
РаЯчев
29]
Bulgarian singers on the
Croatian opera scene
Mimi
Balkansku
Пиян
Hau
Stojan Kolárov
Стоян Коларов
When the Hon.
Ivan Zaje
(1832-1914).
a pupil of the Milan Conservatory,
turned his back on his successes as a
composer in the Vienna operetta
world and came in
1870
to Zagreb
to found the Croatian opera, the
Croatian capital, then a component
of the sprawling Austro-Hungarian
Empire, had a sound musical tra¬
dition. In
1827
the Croatian Music
Institute had been founded; in
1846
the first Croatian national opera,
Love and Malice, by Vatroslav Li-
sinski
(1819-1854)
had its first per¬
formance, the lead being taken by
Franjo Stazić
(1824-1911)
who as
Franz
Steger
was for two decades a
lead in the Viennese Court Opera,
lima
de Murska
(1834-1889),
one of
the greatest singers of the 19th cen¬
tury, whom George Bernard Shaw
had written of and Matilda Mallinger
(1847-1920)
the Eva in the first per¬
formance of The
Mastersingers,
had
received their musical education
there. In his regeneration of the
musical life of Croatia, which had
been to date mainly in the hands of
Italian and German musicians and
operatic ensembles, Zajc the con¬
ductor had at his disposal the young
Josip
Kaśman
(1850-1925),
the future
great king of the baritones Giuseppe
Kaschmann, then at the outset of
his career. In
1878
Giovanni
Battista
De Negri
(1850-1923),
future leading
singer of the Milan
La Scala
arrived
in Zagreb, then at the beginning of
his career. And finally, it was in
Zagreb that the celebrated
Milka
Ternina
(1863-1941)
had made her
debut. The opera of the Croatian
National Theatre in Zagreb began
to flourish from
1895
when the en¬
semble was able to get into the new
National Theatre building, the work
of the renowned Viennese archi¬
tectural firm Fellner and
Helmer,
opened by Emperor Franz Joseph I
himself. This was the time of the
management of
Stjepan Miletić
(1868-1908),
oneof those workhorses
of the theatre whose activities, how¬
ever short they might be, shine out
so much that they work profound
changes on the work of the theatre
and attitudes to it. Four
Miletić
seasons brought the Zagreb theatre
up to date with Europe. One of his
priorities was to bring well-known
artists to Zagreb. Thus thecelebrated
Italian Soprano Gemma Bellincioni
appeared several times in these years,
including as Mascagni's Santuzza,
in the role that she had created at
the first performance of
Cavalleria
rusticana.
Milka
Ternina presented
Beethoven's
Fidelio
and several other
of the roles that made her name.
She was partnered by the Portuguese
Maurizio
Bensaude,
then a member
of the Zagreb Opera, afterwards to
appear at Covent Garden.
The development of the Opera
continued in the 20th century, and
the company was increasingly at
home in contemporary trends. Thus
in
1915
it performed Salome, in
1916 Rosenkavalier, in 1920 Jenufa,
Franz
Lehár
and
Oskar
Nedbal
con¬
ducted their own operettas,
Eugen
d'Albert
his opera. In
1916
Richard
Strauss conducted
Der Rosenkava¬
lier.
Several artists from Zagreb set
out into the world to make their
careers. The mezzo-soprano Gabri-
jela
Horvat
became the
prima
donna
of the Prague
Národní divadlo,
Vera
Schwarz
became a great European
star in opera and operetta alike, and
the bass Nikola Zee was for four de¬
cades a member of the Vienna Court
and subsequently State Opera.
Marijana
Ka.lfv
Мариана Радева
Hristo Brmbarov
-
Христо Кр-ьмбаров
29.!
Singers were mainly trained at
the Vienna Conservatory and came
to Zagreb with advanced levels of
training in order to gain experience,
after which they tended to move on.
Some of them remained after their
foreign successes, such as the sopra¬
no
Vika
Engel
and baritone
Marko
Vušković.
Zagreb was usually tho¬
ught to be a springboard for careers
in Vienna. When
Petar Raičev
came
to Zagreb, the ensemble also in¬
cluded coloratura soprano Tinka
Wesel-Polla, who went on with her
career in the Vienna State Opera,
the dramatic soprano
Ljubica Ob-
lak-Strozzi, who as
Violetta de Stro¬
zzi
became
a prima
donna in the
Berlin Opera, her sister in law
Maja
de Strozzi,
brilliant artist written of
by Thomas Mann, the brilliant bass
Josip Križaj,
and the charming
operetta diva, a remarkable artist
for both acting and singing,
Irma
Polak,
and the wonderful lyrical
tenor
Josip Rij
avec
who gradually
moved off into the world and be¬
came one of the most sought-after
tenors between the two world wars.
Milan Sachs,
Krešimir Baranović
and
Lovro Matačić
were starting
their great conducting careers.
When
Raičev
left, the career of the
great future diva of the Metropolitan
Opera Zinka
Milanov
(then still
called Zinka Vilfan-Kunc) was just
starting.
This, then, was the scene to which
the Bulgarian artists came. They
came as finished artists, well train¬
ed, with a wide general and musical
education, and contributed conside¬
rably to the life of the Croatian
opera. Without them the Croatian
opera scene would have been far
poorer, particularly after World
War II. While dealing with all those
who set out from Bulgaria to find a
place under Croatian skies, one
should certainly distinguish between
permanent members of Croatian
operatic companies, permanent guest
artists and temporary guest artists.
The first to come, in
1920,
was
Petar
Raičev
(1887-1960),
and he at
once won the hearts of audiences
and reviewers alike. He took part in
several first Croatian performances
of operas. His Tsar Berendey in
Rimsky-Korsakov's The Snow Mai¬
den found its way into the anthology
of Croatian opera. With great success,
he sang a broad repertoire, from
Almaviva in
The Barber of Seville
to Herman in The Queen of Spades
and Herod in Salome. He also went
in for directing. In the fifteen years
or so of his work in Zagreb, with
brief intervals, with his powerful
theatre personality, his remarkable
vocal and interpretative capacities
and high degree of professionalism,
he contributed much to the advances
of the Zagreb Opera. He was one of
the most complete artistic persona¬
lities on the Zagreb scene. Not quite
four years after his departure, in
1938
came a new young tenor with a
fine lyric voice and a good stage
presence
Stojan Kolárov
(1907-
1964).
He at once found favour with
the audiences with his appearances
in operettas. He soon transferred to
the opera and was the first Bulgarian
tenor to interpret a cult figure of the
Croatian opera
—
Mica from
Ero
the Joker by
Jakov Gotovac.
He was
also an excellent Baron Trenk in the
opera of the same name by Croatian
composer
Srećko Albini,
first per¬
formed in
1908
in Leipzig. As well
as these two artists, who were under
permanent contract, up to the end
Ljubomir Bodurov
Любомир Ьодуров
Dimitar L'zunov
Димитър Узунов
Nikola Nikolov
Никола Николов
of World War II several other Bul¬
garian artists made guest appearan¬
ces in Zagreb. Several of them came
a number of times. Soprano
Marija
Milkova-Zolotović
sang Massenet's
Manon
in
1927
with great success,
but was not equally successful in
1934
as
Manon,
Violetta,
Gilda
and
Rosina
.
Jelisaveta
Jovović-Kovačev-
ska
appeared with some considerable
success in
1936
as Cio-Cio-San and
Manon.
In
1940
the reviewers pro¬
claimed
Bójka Konstantinova
a real
singing phenomenon, so much had
she charmed with her
Gilda
and
Rosina.
She sang the same roles with
equal success in her guest appea¬
rances in
1942.
In
1940
and
1941
the
young soprano
Vanja
Levente,
with
a promising future in Europe,
appeared with great success. She
sang Cio-Cio-San in Madame Butter¬
fly and
Violetta.
Also appearing to
great delight in
1942
was Nelly
Karová
as Djula in
Ero
the Joker, as
Nedda in
Pagliacci, Mimi
in La
Bohème.
Also an audience-pleaser
in
1942
was Ljuben
Minčev
as
Riccardo in
Un ballo in maschera
and Cavaradossi in
Tosca.
The first
bass of the Sofia Opera
Mihail
Popov met with applause in
1940
when he sang
Basilio,
although less
so as
Kecal,
for it was hard to stand
comparison with the great
Križaj.
After the war in
1947
Popov sang
Kecal
again. The appearances of
operetta
diva Mimi
Balkanska
were
greeted with tumultuous applause
in
1933, 1934, 1935, 1937
and
1938.
The greatest Bulgarian artist to
appear in Zagreb up to the year
1945
was the first tenor of the Vienna
State Opera Todor Mazarov. His
Radames of
1938 —
which he sang
alongside Zinka
Milanov,
who was
making a guest appearance from
the Metropolitan
—
was "a rare
pleasure of the beauty of a southern-
timbred tenor". His
Rodolfo
of
1940
was greeted in a similar way.
The period before and after World
War II was dominated by the out¬
standing figure of
Marijana
Radev
(1913-1973),
inscribed in Croatian
opera history as one of the greatest
Croatian musical artists. As a six-
year old girl, she came to Zagreb
and received her music training
here. She did further studies in Italy,
debuted in Trieste as Marina in
Boris Godunov and in
1938
appeared
for the first time in the Croatian
National Theatre (CNT) as Santuzza
in
Cavalleria rusticana.
With her
dark mezzo-soprano, superlative
musicality and highly pronounced
dramatic temperament, she created
a gallery of unforgettable characters.
Her Carmen was admired even be¬
yond the borders of the country, and
her Countess in The Queen of Spa¬
des was long a byword in
La Scala.
Charlotte in
Werther, Kundry
in
Parsifal, Amneris in
Aida,
Azucena
in
II trovatore
and then
Jele
in
Equinox and the title role in
Mila
Gojsalića
of Croatian composers
Ivan
Brkano
vie" and
Jakov Gotovac,
Britten's Lucretia,
Baba
the Turk in
The Rake's Progress of Stravinsky,
Menotti's Madam Flora, Gluck's
Orfeo and at the end of her career
La Cieca in La gioconda
were never-
to-be forgotten creations for all who
experienced them. Also long in the
memory was her art in the inter¬
pretation of songs and vocal-orche¬
stral works. Her brother,
Gregor
Radev
(1909-1986),
was an irre¬
placeable interpreter of character
and buffo roles, which, thanks to
his great musical culture and innate
Nikola
ι
riu/,
и
v
Никола Гюзелев
Julija
Viner (Wiener-CeniScva)
■
Юляя Винер-Ченишева
2!ІГ,
sense of the comic and ability to
find witty details, he turned into
real studies of the music theatre.
His Sacristan in
Tosca,
Don
Bartolo
in The Barber of Seville, Varlaam in
Boris Godunov and the cook Cre-
onta in the opera Love for Three
Oranges are lastingly remembered
in the history of the Zagreb Opera.
After World War II, Bulgarian
operatic artists were increasingly
featured in Croatian musical life,
and not just in Zagreb, but also in
Rijeka
and Split, though less so in
Osijek.
They appeared at the
Du¬
brovnik
Summer Festival and Split
Summer Festival. The first to come
was
Jana
Puleva
(1921-2003),
a
well-trained singer in Italy, who in
1946
with her future husband, the
distinguished Croatian composer
and conductor Boris Papandopulo
and a few more artists, helped to
establish the Croatian opera in
Rijeka.
Between the wars,
Rijeka
had been ruled by Italy. As a
complete music theatre personality
in the Ivan
Zaj
с
National Theatre
(today the Ivan pi. Zajc Croatian
National Theatre, a subtly important
difference) she created particularly
convincing versions of roles as de¬
manding as
Tosca, Magda Sorel
in
Menotti's The Consul, Orff's Anti¬
gone or the eponymous heroine in
the first performance of Papandopu-
lo's
Rona.
Also in
1946,
Boris Ma-
rinov
(1918-1996)
came to Zagreb,
and at once took up leading roles of
the
lirico
spinto
repertoire
—
Cava-
radossi,
Radames, Manrico.
At the
age of
29
he started to sing Gotovac's
Ero
and was thus one of the youngest
interpreters of this role in history.
While the career of
Jana Puleva was
relatively short-lived, and Marinov
soon left Zagreb, Filka
Dimitrova-
Pletikosić
(1925-1995)
came in
1963
to Split and stayed there until her
death. She was a much-loved mem¬
ber of the Opera of the CNT, one of
the most musical, most all-round
and best trained singers who ever
appeared in it. With her lovely
lyrical soprano and emphatic sense
for interpretation, she created a
number of roles that have lingered
in the memory, among them Goto¬
vac's Djula in
Ero
the Joker,
Mimi,
Manon Lescaut
and
Cio-Cio-San,
Violetta,
Gounod's Marguerite in
Faust, Mara in the opera
Adel
and
Mara of the leading Croatian com¬
poser
Josip
Hatze and Nedda in
Pagliacci,
which she recorded for
RT Zagreb (the successor of which
is Croatian Radio Television). Ivan
Štefanov
(1927)
came to
Rijeka
in
1964;
he was one of the best basses
to have sung in Croatia. He soon
moved to the Opera of the CNT in
Zagreb, and became one of the
leading soloists in the renovated
building in
1969.
He made guest
appearances in Split. Possessed of
an impressive voice and powerful
creativity, he created a number of
roles in these three cities that are
still remembered, including
Bartok 's
Duke Bluebeard,
Méphistophélès in
Faust, Verdi's Ramfis in
Aida,
the
Padre
Guardiano in
The Force of
Destiny and Philip II in Don Carlos;
then there was
Al
vise in Ponchielli's
La gioconda, Pizarro
in
Fidelio
and
an incomparable
Galitsky
in Prince
Igor. On the same day of the year in
1966
the Zagreb audiences made
the acquaintance of Elena Hristova
and
Anastázia Božikova.
Elena
Hristova
(1938)
came as the winner
of the second prize at the
Voci
Verdiane
competition in Bussetto.
29ti
Boris Marinov
-
Борис Маринов
Rajna
Kabaivanska
-
Райна Кабаивансп
Impeccably musical and owning an
excellent coloratura technique, she
created some of the basic roles in
this repertoire: Mile
Silberklang in
Mozart's The Impresario, Amor in
Gluck's
Orfeo ed Euridice,
Doni¬
zetti's Lucia and Verdi's
Gilda
and
Violetta.
She used her absolute pitch
in works of contemporary compo¬
sers. She remained under contract
for eleven years.
Anastasia
Božikova
(1940)
remained under contract for
only two years, but after that under
her maiden name of Dimitrova often
made guest appearances in Zagreb,
Split and
Rijeka.
A fine
lirico
spinto
soprano, in time she sang more de¬
manding dramatic roles, such as
Norma, Abigaille
and Lady Macbeth,
and with her musicality and very
great reliability was much valued as
someone with whom to work.
After the ensemble moved into
the renovated CNT building,
Stojan
Stojanov Gančev
(1929)
took over
the position of leading man; a long-
sought dramatic tenor, he had a
powerful and even voice with con¬
fident and blazing high tones, great
musicality, a commanding stage pre¬
sence and powerful acting abilities.
He sang role after role. Of the
82
in
his repertoire all told, he sang
34
in
Zagreb, among them ten in works
by Croatian authors, and with his
almost five hundred appearances he
became a pillar of the ensemble. It
would indeed be hard to imagine
two whole decades of the work of
the Zagreb Opera without him; he
was a frequent participant in its
many operatic flights. He sang
practically everything, was always
assured and reliable, always per¬
suasive and interesting on the stage.
He sang the most difficult roles in
his craft, and it is enough to say that
in Zagreb alone he sang more than
twenty Otellos, more than thirty
Manricos, more than forty Rada-
meses, to which one should add
many appearances as Cavaradossi,
Don
José, Turiddu,
Canio, Riccardo
in
Un ballo in maschera
and
Juranić
in Zajc's Nikola
Šubić Zrinski
and
Bojan
in Gotovac's
Morana.
At the
end of his career, as
Siegmund in
Die
Walküre
he proved himself an
excellent interpreter of Wagner. He
appeared in all Croatian cities and
at festivals. He was the third Bul¬
garian interpreter of Gotovac's
Ero,
whom he sang not only in Croatia
but in other opera companies in the
former Yugoslavia and at guest
appearances of ensembles from the
republics. His contribution to opera
performance in Croatia was truly
enormous.
Ten years after
Stojanov
came
Veneta
Janeva
Iveljić
(1945).
A dis¬
tinctive artist with exceptional vocal
qualities, a dramatic soprano with
coloratura, of the kind the Zagreb
Opera had not had until that time,
possessed of great musicality, an
attractive stage presence and strong
acting skills, she at once won over
the audience and became a firm
favourite; the reviewers too did not
scant their plaudits. She was a
leading figure of outstandingly suc¬
cessful guest appearances of the
Opera in foreign countries. The
shining moments of her career
brought several exciting artistic
experiences. Unforgettable are her
unrepeatable
Violetta,
Abigaille,
Norma
and Lady Macbeth, as well
as Leonora in
II trovatore,
Aida,
Tosca, Adriana
Lecouvreur,
Rosina
in The Barber of Seville at the Du-
brovnikFestival in 1983,Desdemona
Ivan Štefanov
-
Иван Стефанов
Ι ιίΚ.
Dimi
trova -Pletikosiŕ
-
Фжлка Димитрова-Плетмкосич
297
in
Otelio
in the Split Summer Fes¬
tival in
1985,
Asteria in
Boito's
Ner
one in
1989.
Although not under contract to
Croatian theatres, Zlatomira Niko-
lova and Valentin
Enčev
also made
considerable contributions to Cro¬
atian operatic life, as participants
in important productions in which
they created memorable performan¬
ces. Zlatomira Nikolova
(1949)
in¬
troduced herself to the Zagreb audi¬
ence in
1982
as Adalgisa in
Norma.
She appeared in all Croatian theat¬
res and festivals. An artist of great
musicality, a real dramatic mezzo-
soprano with a large vocal range
and powerful expressiveness, she
gave her most impressive perfor¬
mances in works by Verdi, Wagner
and Richard Strauss. Her
Azucena
in
II trovatore,
Amneris in
Aida
and
Herodias in
Salome are among the
finest achievements on the Croatian
opera scene in the last two decades.
She captivated audiences in all four
Croatian cities with her Amneris,
indeed, still does, and in it became
α
golden pillar of the Peristyle in Split.
To this one should add Fenena in
Nabucco, Fricka in
Rheingold
and
Die
Walküre, Klytemnästra
in
Elek¬
tra,
the Princess
de
Bouillon in
Ad¬
riana
Lecouvreur, Rubria in Nerone,
Gotovac
's patriotic heroine
Mila
Gojsalića
and
Brangäna in
Tristan
and Isolde. Nikolova took part in
numbers of successful Zagreb guest
appearances abroad. She won the
Croatian Stage Prize for her work
in a contemporary piece
—
the Sa-
ty
гісоп
of Bruno Maderna. Valentin
Enčev
(1949)
debuted before the
Croatian audience in
1992
in Split
as Alfio in
Cavalleria rusticana
and
Tonio in
Pagliacci. He
had star-
filled moments in
1994
in the Zagreb
Opera as interpreter of the cult
figure of Croatian opera Zajc's
Nikola
Šubić Zrinski,
for which he
won the Tito
Strozzi
Prize for the
best achievement on the Croatian
stage in the
1994/1995
season. A
singer with a particularly beautiful
voice, of great musicality and great
power of interpretation, he stood
out as
Topan
Pasha in
Mila Gojsa¬
lića,
as Scarpia in
Tosca,
the High
Priest in Samson and Delilah and as
Verdi's
Rigoletto,
for which role he
won much applause in
Rijeka,
Nabucco, Amonasro, Count Luna,
Simon Boccanegra. In
Rijeka
he will
also be remembered as
Posa in
Don
Carlos and
Corrado in
Zajc's opera
Amelia, and in most recent times as
Zrinski.
Individual guest appearances by
Bulgarian artists in Croatia since
1945
have been very numerous, and
have been particularly important
for the activities of the Zagreb Ope¬
ra. Just a few will be mentioned
here. In
1947
the celebrated Hristo
Brmbarov came; as teacher of voice
he had trained the greatest Bulga¬
rian singers after World War II. He
appeared as Scarpia and Boris Go-
dunov. In
1956,
Dimitri
Uzunov
produced a brilliant Radames and
conquered the Zagreb Opera audi¬
ences and the Split Summer Fes¬
tival-goers. For many, he was the
best interpreter of this part at the
ancient Peristyle. Zagreb also mar¬
velled at his Don
José.
In
1957
Za¬
greb was once again to admire his
Radames and Don
José, as
well as
the Don
José
of Nikola Nikolov,
winner at the Vercelli international
singing competition. It warmly wel¬
comed his
1962
Manrico and his
1968
Otelio
in a concert version of
298
Veneta
Janeva
Iveljie
-
Венета Янева-Ивелич
Stojan Stojanov
-
Стоян Стоянов (Ганчев)
■
Златомира Николова
the opera with the Zagreb Philhar¬
monic Orchestra, with which they
appeared together in Salzburg as
well.
A particular place in the memory
was carved by Ljubomir Bodurov,
who won hearts with his voice, pre¬
sence and creativity. He too played
Don
José
in Zagreb, in
1961,
and
sang in Verdi's Requiem at the
Du¬
brovnik
Summer Festival. He was
one of the best interpreters of the
tenor part in the Requiem anywhere
in Croatia. He was a mainstay of the
Zagreb Opera in some of its major
tours: in
1962
in Berlin in Carmen,
in
1963
in the San Carlo Theatre in
Naples in The Queen of Spades (an
unforgettable Herman) and in
1965
in Japan in Boris Godunov and The
Bartered Bride. In
1968
Bodurov
gave delight in Requiem in Split. At
the Zagreb Opera tour in Japan,
Julija
Viner
(WienerJ-Čeniševa
sang
Yaroslavna at all six performances
of Prince Igor. Earlier on, in
1961,
she had won over the Zagreb audi¬
ences as Leonora in
Л
trovatore,
but
had been somewhat less successful
in
1962
as Elisabeth in Don Carlos.
In
1962 Katja
Popova
sang
Mašenka
in The Bartered Bride in Zagreb,
and in Japan, as well as,
Tatiana
in
Eugene Onegin. Nikola Gjuzelev in
the same tour took the part of Pimen
in Boris Godunov,
Galitsky
in
Prince Igor and Gremin in Eugene
Onegin. By force of circumstances,
his announced guest appearance in
the CNT in Zagreb did not take
place. At the
Dubrovnik
Summer
Festival in
1968
he sang in Verdi's
Requiem. Great interest was excited
by the
1964
guest appearance of
Margarita
Lilová,
member of the
Vienna State Opera. She was ex¬
tremely popular as Amneris, while
opinions about her Carmen were
not unanimous.
When the CNT ensembles got
back into the renovated building in
Zagreb in
1969,
there was a string
of interesting productions. One of
the most exciting was the first
performance after World War II of
The
Mastersingers, in
which Stefan
Stefanoff sang Walther von Stolzing;
in
1970
at the
Dubrovnik
Festival
he was
Florestan
in
Fidelio
(which
was conducted by
Lovro Mataćić,
with Sena Jurinac as Leonore). In
1976
the lead of the Ljubljana Opera
Dimitrij Damjanov sang Manrico in
Zagreb; in
Rijeka
in
1985
and
1986,
he sang Radames. He appeared as
Ismaele in Nabucco in
1986
at the
guest appearance of the Ljubljana
ensemble at the Summer Festival in
Dubrovnik
and in Zagreb. In
1992
he went to Split to sing Canio and
Cavaradossi at premieres of Pag-
liacci and
Tosca.
A great impression
was made by
Ženi Živkova
in
1979
as
Rusalka
at the guest appearance
of the Ljubljana Opera in Zagreb.
In
1983
Stojan
Popov began to make
occasional appearances; in
Rijeka
he sang
Rigoletto,
and in Split Scar-
pia and Amonasro.
The most important of all guest
appearances by Bulgarian operatic
artists in Croatia was that of
Rajna
Kabaivanska in
Tosca
as part of the
Culture Programme for the Zagreb
Opera for the
1987
University Ga¬
mes. She thrilled with her wonderful
creation of the Puccini heroine,
being at that time the world's best
interpreter of that role. Kabaivanska
also showed her superlative singing
skills and supreme power of
interpretation at a festive operatic
concert in Split. She was received
Valentin Enćev
■
Валс
Svetla Vassileva
■
Светла
Василі
and seen off as befitting one of the
greatest divas of the time. In
1987
Svetlana
Kotlenko produced a very
positive impression as Lady Mac¬
beth, although in
1988
her Abigaille
was less well received. Other guest
appearances came from
Bojko Cve-
tanov as Radames at the Split Fes¬
tival in
1987
and
Bozi
da
r Nikolov
in
Traviata in
Zagreb in
1989.
Nikolov
went on appearing in Croatia and
sang Macduff in Macbeth, Alfredo
in
La traviata
and Cavaradossi in
Rijeka
and in
2003,
Don
José
at the
premiere of Carmen in Split. A fre¬
quent guest in Verdi roles in
2001
was the
prima
of the Ljubljana
opera
Galia Gorčeva;
she appeared
as Leonora in The Force of Destiny
and in more recent times has sung
Leonora in
II trovatore,
Aida
and
Abigaille.
After appearing the first time in
1997
in Split as a guest at the
Pla¬
cido
Domingo concert, and making
a great impression,
Svetla
Vassileva
became a firm favourite of the Split
public. In
2005
she sang
Luisa
at the
first Croatian production of Verdi's
Luisa
Miller and produced a vol¬
canic stage interpretation worthy of
the most celebrated of the world's
opera divas. Vassileva also sang at
gala concerts in
1999
in Split and
2003
in Zagreb.
In
1988
Nelly
Boškova
guested as
Herodias
in Salome. As member of
the Vienna State Opera in
1997
she
sang
Ježibaba
in Dvorak's
Rusalka
at a concert performance with the
Zagreb Phil, which she recorded for
the label DiscOver. In
1989
Rumen
Dojkov sang Alfredo at the Summer
Theatre in
Opatija.
In
1990,
Zagreb
heard
Živko Prančev
singing Na-
bucco,
Prančev
was also Scarpia in
the
Tosca
premiere in
Osijek.
Doj¬
kov and
Prančev
appeared together
at the grand production of
Tosca
staged on May
24,1995
marking the
feast of
SS.
Cyril and Method,
conducted by Ruslan
Rajčev
with
Veneta
Janeva
ívelj ití
in the title
role. In
1991
Živko Želev
sang
Alfredo in
La traviata in
Zagreb, as
well as
Almaviva in
The Barber of
Seville, and
Belmonte
at an excellent
premiere of Mozart's Die
Entführ¬
ung aus dem Serail in
Osijek.
Two artists who are bound to
become long-time guests in Croatian
opera companies gave their first
performances in Croatia in
2006.
Gabrijela
Georgieva
(1971)
drew
attention to herself in the
Rijeka
premiere of
La gioconda
as a po¬
werful
lirico spinto,
as well as by
her musical interpretation and per¬
suasive acting. The same qualities
drew applause for Kiril Manolov
(1976)
in CNT in Split as Belcore in
L'elisir d'amore, in
Zagreb as Figaro
in The Barber of Seville and at the
Split Summer Festival as Nabucco
and Amonasro.
The tradition of Bulgarian opera¬
tic artists on opera stages in Croatia
is, without any doubt, continuing.
Text by
Marija
Barbieri
Translated by Graham McMaster |
| adam_txt |
KAZALO
·
СЪДЪРЖАНИЕ
PREDGOVOR
—
Akademik
Dalibor
Brozović
PREDGOVOR
—
Dr.
Ала
Lederer
UVOD
10
12
14
Академик Далибор Брозович
—
ПРЕДГОВОР
д-р Ана Ледерер
—
ПРЕДГОВОР
УВОД
PRVI
DIO
1920. — 1945.
ПЪРВА ЧАСТ
Petar Raičev
Stojan
Kolárov
19
29
Петър Райчев
Стоян Коларов
Marko
Markov
Marija Milkova-Zolotović
Mirni Balkanska
Jelisaveta Jovović-Kovačevska
Julija
Dimitrova-Ilijeva
Todor Mazarov
Boj ka
Konstantinova
Vanja Leventova
Mihail
Popov
Nelly
Karová
Ljuben Minčev
37
37
38
39
39
39
40
40
41
42
42
Марко Марков
Мария Милкова-Золотович
Мими Балканска
Елисавета Йовович-Ковачевска
Юлия Димитрова-Илиева
Тодор Мазаров
Бойка Константинова
Ваня Левенто
Михаил Попов
Нели Карова
Любен Минчев
DRUGI
DIO
ВТОРА ЧАСТ
Marijana Radev
Gregor Radev
53
87
11'.
Λ
J
III I l.\
1)1, Vi'
Мариана Радева
Грегор Радев
TREĆI
DIO
1945. — 2006.
ТРЕТА
ЧАСТ
Jana
Puleva
Boris Marinov
Filka Dimitrova-Pletikosic
Ivan
Štefanov
Elena Hristova
Anastasija Božikova
(Dimitrova)
Georgi
Bôžikov
Cvjetana Dukova
Репка
Turnšek
Petj a
Tataj
Neško Nešev
Stojan
Stojanov
Veneta
Janeva
Iveljić
95
109
115
127
143
151
159
159
161
161
161
163
189
Яна Пулев
Борис Маринов
Филка Димитрова-Плетикосич
Иван Стефанов
Елена Христова
Анастасия Димитрова-Божикова
Георги Божиков
Цветанка Дукова
Пенка Турншек
Петя Татай
Нешко Нешев
Стоян Стоянов (Ганчев)
Венета Янева-Ивелич
Zlatomira Nikolova
Valentin Enčev
215
235
Златомира Николова
Валентин Енчев
Mihail
Popov
Hristo Brmbarov
Rajna Mihajlova
Ilija Josifov
Dimitar Uzunov
Nikola Nikolov
Ljubomir Bodurov
Nikola Gjuzelev
Julija
Viner
(Wiener-Čeniäeva)
Katja
Popova
Nikolaj Zdravkov
Petja Ivanova
Jordan Znamenov
Ljiljana
Bareva
Resa Koleva
Margarita
Lilová
Pali Marinov
Milkana Nikolova
251
251
251
251
252
253
254
257
258
258
259
259
259
260
260
260
261
261
Михаил
Попов
Христо Бръмбаров
Райна Михайлова
Илия Йосифов
Димитър Узунов
Никола Николов
Любомир Бодуров
Никола Гюзелев
Юлия Винер-Ченишева
Катя
Попова
Николай Здравков
Петя Иванова
Йордан Знаменов
Лиляна Барева
Реса Колева
Маргарита Лилова
Пали Маринов
Милкана Николова
Todor Rostov
Kiril
Krstev
Ljuba Zlateva Rogleva
Hristofor Mančev Roglev
Dimitar Argirov
Ivan Hristov
261
261
261
261
261
261
Тодор Костов
Кирил Кръстев
Люба Златева Роглева
Христофор Манчев Роглев
Димитър Аргиров
Иван Христов
Stefan
Stefanoff
Borislav
Aleksandrov
Dimitri
Damjanov
Ženi Živkova
Stojan
Popov
Penka Dilova
Ivan Konsulov
Bajna Kabaivanska
Bojko Cvetanov
Svetlana Kotlenko
Wessela
Zlateva
Božidar Nikolov
Galia
Gorćeva
Svetla Vassileva
Anton Zdravkov
Vasil Marčev
Nikola Vasilev
Evdokija Zdravkova Horozova
Kaludi Kaludov
Nelly
Boškova
Denčo Belev
Rumen Dojkov
Ivan Velčev
Živko Prančev
Živko Želev
Ivan Mutafčiev
Sonia
Marinova
Gabriela
Georgieva
Kamen Čanev
Kiril
Manolov
274
274
275
275
275
275
276
276
277
277
278
278
278
278
279
279
279
279
279
279
280
280
280
280
280
280
280
280
281
281
Стефан Стефанов
Борислав Александров
Димитър Дамянов
Жени Живкова
Стоян Попов
Пенка Дилова
Иван Консулов
Райна Кабаиванска
Бойко Цветанов
Светлана Котленко
Весела Златева
Божидар Николов
Галя Горчева
Светла Василева
Антон Здравков
Васил Марчев
Никола Василев
Евдокия
Здравкова Хорозова
Калуди Калудов
Нели Божкова
Денчо
Белев
Румен Дойков
Иван Велчев
Живко Пранчев
Живко Желев
Иван Мутафчиев
Соня Маринова
Габриела Георгиева
Камен Чанев
Кирил Манолов
SUMMARY
О
AUTORICI
IZVORI
291
300
302
ЗА АВТОРАКАТА
ИЗТОЧНИЦИ
Petar
Raiŕrv
Петіф
РаЯчев
29]
Bulgarian singers on the
Croatian opera scene
Mimi
Balkansku
Пиян
Hau
Stojan Kolárov
Стоян Коларов
When the Hon.
Ivan Zaje
(1832-1914).
a pupil of the Milan Conservatory,
turned his back on his successes as a
composer in the Vienna operetta
world and came in
1870
to Zagreb
to found the Croatian opera, the
Croatian capital, then a component
of the sprawling Austro-Hungarian
Empire, had a sound musical tra¬
dition. In
1827
the Croatian Music
Institute had been founded; in
1846
the first Croatian national opera,
Love and Malice, by Vatroslav Li-
sinski
(1819-1854)
had its first per¬
formance, the lead being taken by
Franjo Stazić
(1824-1911)
who as
Franz
Steger
was for two decades a
lead in the Viennese Court Opera,
lima
de Murska
(1834-1889),
one of
the greatest singers of the 19th cen¬
tury, whom George Bernard Shaw
had written of and Matilda Mallinger
(1847-1920)
the Eva in the first per¬
formance of The
Mastersingers,
had
received their musical education
there. In his regeneration of the
musical life of Croatia, which had
been to date mainly in the hands of
Italian and German musicians and
operatic ensembles, Zajc the con¬
ductor had at his disposal the young
Josip
Kaśman
(1850-1925),
the future
great king of the baritones Giuseppe
Kaschmann, then at the outset of
his career. In
1878
Giovanni
Battista
De Negri
(1850-1923),
future leading
singer of the Milan
La Scala
arrived
in Zagreb, then at the beginning of
his career. And finally, it was in
Zagreb that the celebrated
Milka
Ternina
(1863-1941)
had made her
debut. The opera of the Croatian
National Theatre in Zagreb began
to flourish from
1895
when the en¬
semble was able to get into the new
National Theatre building, the work
of the renowned Viennese archi¬
tectural firm Fellner and
Helmer,
opened by Emperor Franz Joseph I
himself. This was the time of the
management of
Stjepan Miletić
(1868-1908),
oneof those workhorses
of the theatre whose activities, how¬
ever short they might be, shine out
so much that they work profound
changes on the work of the theatre
and attitudes to it. Four
Miletić
seasons brought the Zagreb theatre
up to date with Europe. One of his
priorities was to bring well-known
artists to Zagreb. Thus thecelebrated
Italian Soprano Gemma Bellincioni
appeared several times in these years,
including as Mascagni's Santuzza,
in the role that she had created at
the first performance of
Cavalleria
rusticana.
Milka
Ternina presented
Beethoven's
Fidelio
and several other
of the roles that made her name.
She was partnered by the Portuguese
Maurizio
Bensaude,
then a member
of the Zagreb Opera, afterwards to
appear at Covent Garden.
The development of the Opera
continued in the 20th century, and
the company was increasingly at
home in contemporary trends. Thus
in
1915
it performed Salome, in
1916 Rosenkavalier, in 1920 Jenufa,
Franz
Lehár
and
Oskar
Nedbal
con¬
ducted their own operettas,
Eugen
d'Albert
his opera. In
1916
Richard
Strauss conducted
Der Rosenkava¬
lier.
Several artists from Zagreb set
out into the world to make their
careers. The mezzo-soprano Gabri-
jela
Horvat
became the
prima
donna
of the Prague
Národní divadlo,
Vera
Schwarz
became a great European
star in opera and operetta alike, and
the bass Nikola Zee was for four de¬
cades a member of the Vienna Court
and subsequently State Opera.
Marijana
Ka.lfv
Мариана Радева
Hristo Brmbarov
-
Христо Кр-ьмбаров
29.!
Singers were mainly trained at
the Vienna Conservatory and came
to Zagreb with advanced levels of
training in order to gain experience,
after which they tended to move on.
Some of them remained after their
foreign successes, such as the sopra¬
no
Vika
Engel
and baritone
Marko
Vušković.
Zagreb was usually tho¬
ught to be a springboard for careers
in Vienna. When
Petar Raičev
came
to Zagreb, the ensemble also in¬
cluded coloratura soprano Tinka
Wesel-Polla, who went on with her
career in the Vienna State Opera,
the dramatic soprano
Ljubica Ob-
lak-Strozzi, who as
Violetta de Stro¬
zzi
became
a prima
donna in the
Berlin Opera, her sister in law
Maja
de Strozzi,
brilliant artist written of
by Thomas Mann, the brilliant bass
Josip Križaj,
and the charming
operetta diva, a remarkable artist
for both acting and singing,
Irma
Polak,
and the wonderful lyrical
tenor
Josip Rij
avec
who gradually
moved off into the world and be¬
came one of the most sought-after
tenors between the two world wars.
Milan Sachs,
Krešimir Baranović
and
Lovro Matačić
were starting
their great conducting careers.
When
Raičev
left, the career of the
great future diva of the Metropolitan
Opera Zinka
Milanov
(then still
called Zinka Vilfan-Kunc) was just
starting.
This, then, was the scene to which
the Bulgarian artists came. They
came as finished artists, well train¬
ed, with a wide general and musical
education, and contributed conside¬
rably to the life of the Croatian
opera. Without them the Croatian
opera scene would have been far
poorer, particularly after World
War II. While dealing with all those
who set out from Bulgaria to find a
place under Croatian skies, one
should certainly distinguish between
permanent members of Croatian
operatic companies, permanent guest
artists and temporary guest artists.
The first to come, in
1920,
was
Petar
Raičev
(1887-1960),
and he at
once won the hearts of audiences
and reviewers alike. He took part in
several first Croatian performances
of operas. His Tsar Berendey in
Rimsky-Korsakov's The Snow Mai¬
den found its way into the anthology
of Croatian opera. With great success,
he sang a broad repertoire, from
Almaviva in
The Barber of Seville
to Herman in The Queen of Spades
and Herod in Salome. He also went
in for directing. In the fifteen years
or so of his work in Zagreb, with
brief intervals, with his powerful
theatre personality, his remarkable
vocal and interpretative capacities
and high degree of professionalism,
he contributed much to the advances
of the Zagreb Opera. He was one of
the most complete artistic persona¬
lities on the Zagreb scene. Not quite
four years after his departure, in
1938
came a new young tenor with a
fine lyric voice and a good stage
presence
Stojan Kolárov
(1907-
1964).
He at once found favour with
the audiences with his appearances
in operettas. He soon transferred to
the opera and was the first Bulgarian
tenor to interpret a cult figure of the
Croatian opera
—
Mica from
Ero
the Joker by
Jakov Gotovac.
He was
also an excellent Baron Trenk in the
opera of the same name by Croatian
composer
Srećko Albini,
first per¬
formed in
1908
in Leipzig. As well
as these two artists, who were under
permanent contract, up to the end
Ljubomir Bodurov
Любомир Ьодуров
Dimitar L'zunov
Димитър Узунов
Nikola Nikolov
Никола Николов
of World War II several other Bul¬
garian artists made guest appearan¬
ces in Zagreb. Several of them came
a number of times. Soprano
Marija
Milkova-Zolotović
sang Massenet's
Manon
in
1927
with great success,
but was not equally successful in
1934
as
Manon,
Violetta,
Gilda
and
Rosina
.
Jelisaveta
Jovović-Kovačev-
ska
appeared with some considerable
success in
1936
as Cio-Cio-San and
Manon.
In
1940
the reviewers pro¬
claimed
Bójka Konstantinova
a real
singing phenomenon, so much had
she charmed with her
Gilda
and
Rosina.
She sang the same roles with
equal success in her guest appea¬
rances in
1942.
In
1940
and
1941
the
young soprano
Vanja
Levente,
with
a promising future in Europe,
appeared with great success. She
sang Cio-Cio-San in Madame Butter¬
fly and
Violetta.
Also appearing to
great delight in
1942
was Nelly
Karová
as Djula in
Ero
the Joker, as
Nedda in
Pagliacci, Mimi
in La
Bohème.
Also an audience-pleaser
in
1942
was Ljuben
Minčev
as
Riccardo in
Un ballo in maschera
and Cavaradossi in
Tosca.
The first
bass of the Sofia Opera
Mihail
Popov met with applause in
1940
when he sang
Basilio,
although less
so as
Kecal,
for it was hard to stand
comparison with the great
Križaj.
After the war in
1947
Popov sang
Kecal
again. The appearances of
operetta
diva Mimi
Balkanska
were
greeted with tumultuous applause
in
1933, 1934, 1935, 1937
and
1938.
The greatest Bulgarian artist to
appear in Zagreb up to the year
1945
was the first tenor of the Vienna
State Opera Todor Mazarov. His
Radames of
1938 —
which he sang
alongside Zinka
Milanov,
who was
making a guest appearance from
the Metropolitan
—
was "a rare
pleasure of the beauty of a southern-
timbred tenor". His
Rodolfo
of
1940
was greeted in a similar way.
The period before and after World
War II was dominated by the out¬
standing figure of
Marijana
Radev
(1913-1973),
inscribed in Croatian
opera history as one of the greatest
Croatian musical artists. As a six-
year old girl, she came to Zagreb
and received her music training
here. She did further studies in Italy,
debuted in Trieste as Marina in
Boris Godunov and in
1938
appeared
for the first time in the Croatian
National Theatre (CNT) as Santuzza
in
Cavalleria rusticana.
With her
dark mezzo-soprano, superlative
musicality and highly pronounced
dramatic temperament, she created
a gallery of unforgettable characters.
Her Carmen was admired even be¬
yond the borders of the country, and
her Countess in The Queen of Spa¬
des was long a byword in
La Scala.
Charlotte in
Werther, Kundry
in
Parsifal, Amneris in
Aida,
Azucena
in
II trovatore
and then
Jele
in
Equinox and the title role in
Mila
Gojsalića
of Croatian composers
Ivan
Brkano
vie" and
Jakov Gotovac,
Britten's Lucretia,
Baba
the Turk in
The Rake's Progress of Stravinsky,
Menotti's Madam Flora, Gluck's
Orfeo and at the end of her career
La Cieca in La gioconda
were never-
to-be forgotten creations for all who
experienced them. Also long in the
memory was her art in the inter¬
pretation of songs and vocal-orche¬
stral works. Her brother,
Gregor
Radev
(1909-1986),
was an irre¬
placeable interpreter of character
and buffo roles, which, thanks to
his great musical culture and innate
Nikola
ι
riu/,
и
v
Никола Гюзелев
Julija
Viner (Wiener-CeniScva)
■
Юляя Винер-Ченишева
2!ІГ,
sense of the comic and ability to
find witty details, he turned into
real studies of the music theatre.
His Sacristan in
Tosca,
Don
Bartolo
in The Barber of Seville, Varlaam in
Boris Godunov and the cook Cre-
onta in the opera Love for Three
Oranges are lastingly remembered
in the history of the Zagreb Opera.
After World War II, Bulgarian
operatic artists were increasingly
featured in Croatian musical life,
and not just in Zagreb, but also in
Rijeka
and Split, though less so in
Osijek.
They appeared at the
Du¬
brovnik
Summer Festival and Split
Summer Festival. The first to come
was
Jana
Puleva
(1921-2003),
a
well-trained singer in Italy, who in
1946
with her future husband, the
distinguished Croatian composer
and conductor Boris Papandopulo
and a few more artists, helped to
establish the Croatian opera in
Rijeka.
Between the wars,
Rijeka
had been ruled by Italy. As a
complete music theatre personality
in the Ivan
Zaj
с
National Theatre
(today the Ivan pi. Zajc Croatian
National Theatre, a subtly important
difference) she created particularly
convincing versions of roles as de¬
manding as
Tosca, Magda Sorel
in
Menotti's The Consul, Orff's Anti¬
gone or the eponymous heroine in
the first performance of Papandopu-
lo's
Rona.
Also in
1946,
Boris Ma-
rinov
(1918-1996)
came to Zagreb,
and at once took up leading roles of
the
lirico
spinto
repertoire
—
Cava-
radossi,
Radames, Manrico.
At the
age of
29
he started to sing Gotovac's
Ero
and was thus one of the youngest
interpreters of this role in history.
While the career of
Jana Puleva was
relatively short-lived, and Marinov
soon left Zagreb, Filka
Dimitrova-
Pletikosić
(1925-1995)
came in
1963
to Split and stayed there until her
death. She was a much-loved mem¬
ber of the Opera of the CNT, one of
the most musical, most all-round
and best trained singers who ever
appeared in it. With her lovely
lyrical soprano and emphatic sense
for interpretation, she created a
number of roles that have lingered
in the memory, among them Goto¬
vac's Djula in
Ero
the Joker,
Mimi,
Manon Lescaut
and
Cio-Cio-San,
Violetta,
Gounod's Marguerite in
Faust, Mara in the opera
Adel
and
Mara of the leading Croatian com¬
poser
Josip
Hatze and Nedda in
Pagliacci,
which she recorded for
RT Zagreb (the successor of which
is Croatian Radio Television). Ivan
Štefanov
(1927)
came to
Rijeka
in
1964;
he was one of the best basses
to have sung in Croatia. He soon
moved to the Opera of the CNT in
Zagreb, and became one of the
leading soloists in the renovated
building in
1969.
He made guest
appearances in Split. Possessed of
an impressive voice and powerful
creativity, he created a number of
roles in these three cities that are
still remembered, including
Bartok 's
Duke Bluebeard,
Méphistophélès in
Faust, Verdi's Ramfis in
Aida,
the
Padre
Guardiano in
The Force of
Destiny and Philip II in Don Carlos;
then there was
Al
vise in Ponchielli's
La gioconda, Pizarro
in
Fidelio
and
an incomparable
Galitsky
in Prince
Igor. On the same day of the year in
1966
the Zagreb audiences made
the acquaintance of Elena Hristova
and
Anastázia Božikova.
Elena
Hristova
(1938)
came as the winner
of the second prize at the
Voci
Verdiane
competition in Bussetto.
29ti
Boris Marinov
-
Борис Маринов
Rajna
Kabaivanska
-
Райна Кабаивансп
Impeccably musical and owning an
excellent coloratura technique, she
created some of the basic roles in
this repertoire: Mile
Silberklang in
Mozart's The Impresario, Amor in
Gluck's
Orfeo ed Euridice,
Doni¬
zetti's Lucia and Verdi's
Gilda
and
Violetta.
She used her absolute pitch
in works of contemporary compo¬
sers. She remained under contract
for eleven years.
Anastasia
Božikova
(1940)
remained under contract for
only two years, but after that under
her maiden name of Dimitrova often
made guest appearances in Zagreb,
Split and
Rijeka.
A fine
lirico
spinto
soprano, in time she sang more de¬
manding dramatic roles, such as
Norma, Abigaille
and Lady Macbeth,
and with her musicality and very
great reliability was much valued as
someone with whom to work.
After the ensemble moved into
the renovated CNT building,
Stojan
Stojanov Gančev
(1929)
took over
the position of leading man; a long-
sought dramatic tenor, he had a
powerful and even voice with con¬
fident and blazing high tones, great
musicality, a commanding stage pre¬
sence and powerful acting abilities.
He sang role after role. Of the
82
in
his repertoire all told, he sang
34
in
Zagreb, among them ten in works
by Croatian authors, and with his
almost five hundred appearances he
became a pillar of the ensemble. It
would indeed be hard to imagine
two whole decades of the work of
the Zagreb Opera without him; he
was a frequent participant in its
many operatic flights. He sang
practically everything, was always
assured and reliable, always per¬
suasive and interesting on the stage.
He sang the most difficult roles in
his craft, and it is enough to say that
in Zagreb alone he sang more than
twenty Otellos, more than thirty
Manricos, more than forty Rada-
meses, to which one should add
many appearances as Cavaradossi,
Don
José, Turiddu,
Canio, Riccardo
in
Un ballo in maschera
and
Juranić
in Zajc's Nikola
Šubić Zrinski
and
Bojan
in Gotovac's
Morana.
At the
end of his career, as
Siegmund in
Die
Walküre
he proved himself an
excellent interpreter of Wagner. He
appeared in all Croatian cities and
at festivals. He was the third Bul¬
garian interpreter of Gotovac's
Ero,
whom he sang not only in Croatia
but in other opera companies in the
former Yugoslavia and at guest
appearances of ensembles from the
republics. His contribution to opera
performance in Croatia was truly
enormous.
Ten years after
Stojanov
came
Veneta
Janeva
Iveljić
(1945).
A dis¬
tinctive artist with exceptional vocal
qualities, a dramatic soprano with
coloratura, of the kind the Zagreb
Opera had not had until that time,
possessed of great musicality, an
attractive stage presence and strong
acting skills, she at once won over
the audience and became a firm
favourite; the reviewers too did not
scant their plaudits. She was a
leading figure of outstandingly suc¬
cessful guest appearances of the
Opera in foreign countries. The
shining moments of her career
brought several exciting artistic
experiences. Unforgettable are her
unrepeatable
Violetta,
Abigaille,
Norma
and Lady Macbeth, as well
as Leonora in
II trovatore,
Aida,
Tosca, Adriana
Lecouvreur,
Rosina
in The Barber of Seville at the Du-
brovnikFestival in 1983,Desdemona
Ivan Štefanov
-
Иван Стефанов
Ι ιίΚ.
Dimi
trova -Pletikosiŕ
-
Фжлка Димитрова-Плетмкосич
297
in
Otelio
in the Split Summer Fes¬
tival in
1985,
Asteria in
Boito's
Ner
one in
1989.
Although not under contract to
Croatian theatres, Zlatomira Niko-
lova and Valentin
Enčev
also made
considerable contributions to Cro¬
atian operatic life, as participants
in important productions in which
they created memorable performan¬
ces. Zlatomira Nikolova
(1949)
in¬
troduced herself to the Zagreb audi¬
ence in
1982
as Adalgisa in
Norma.
She appeared in all Croatian theat¬
res and festivals. An artist of great
musicality, a real dramatic mezzo-
soprano with a large vocal range
and powerful expressiveness, she
gave her most impressive perfor¬
mances in works by Verdi, Wagner
and Richard Strauss. Her
Azucena
in
II trovatore,
Amneris in
Aida
and
Herodias in
Salome are among the
finest achievements on the Croatian
opera scene in the last two decades.
She captivated audiences in all four
Croatian cities with her Amneris,
indeed, still does, and in it became
α
golden pillar of the Peristyle in Split.
To this one should add Fenena in
Nabucco, Fricka in
Rheingold
and
Die
Walküre, Klytemnästra
in
Elek¬
tra,
the Princess
de
Bouillon in
Ad¬
riana
Lecouvreur, Rubria in Nerone,
Gotovac
's patriotic heroine
Mila
Gojsalića
and
Brangäna in
Tristan
and Isolde. Nikolova took part in
numbers of successful Zagreb guest
appearances abroad. She won the
Croatian Stage Prize for her work
in a contemporary piece
—
the Sa-
ty
гісоп
of Bruno Maderna. Valentin
Enčev
(1949)
debuted before the
Croatian audience in
1992
in Split
as Alfio in
Cavalleria rusticana
and
Tonio in
Pagliacci. He
had star-
filled moments in
1994
in the Zagreb
Opera as interpreter of the cult
figure of Croatian opera Zajc's
Nikola
Šubić Zrinski,
for which he
won the Tito
Strozzi
Prize for the
best achievement on the Croatian
stage in the
1994/1995
season. A
singer with a particularly beautiful
voice, of great musicality and great
power of interpretation, he stood
out as
Topan
Pasha in
Mila Gojsa¬
lića,
as Scarpia in
Tosca,
the High
Priest in Samson and Delilah and as
Verdi's
Rigoletto,
for which role he
won much applause in
Rijeka,
Nabucco, Amonasro, Count Luna,
Simon Boccanegra. In
Rijeka
he will
also be remembered as
Posa in
Don
Carlos and
Corrado in
Zajc's opera
Amelia, and in most recent times as
Zrinski.
Individual guest appearances by
Bulgarian artists in Croatia since
1945
have been very numerous, and
have been particularly important
for the activities of the Zagreb Ope¬
ra. Just a few will be mentioned
here. In
1947
the celebrated Hristo
Brmbarov came; as teacher of voice
he had trained the greatest Bulga¬
rian singers after World War II. He
appeared as Scarpia and Boris Go-
dunov. In
1956,
Dimitri
Uzunov
produced a brilliant Radames and
conquered the Zagreb Opera audi¬
ences and the Split Summer Fes¬
tival-goers. For many, he was the
best interpreter of this part at the
ancient Peristyle. Zagreb also mar¬
velled at his Don
José.
In
1957
Za¬
greb was once again to admire his
Radames and Don
José, as
well as
the Don
José
of Nikola Nikolov,
winner at the Vercelli international
singing competition. It warmly wel¬
comed his
1962
Manrico and his
1968
Otelio
in a concert version of
298
Veneta
Janeva
Iveljie
-
Венета Янева-Ивелич
Stojan Stojanov
-
Стоян Стоянов (Ганчев)
■
Златомира Николова
the opera with the Zagreb Philhar¬
monic Orchestra, with which they
appeared together in Salzburg as
well.
A particular place in the memory
was carved by Ljubomir Bodurov,
who won hearts with his voice, pre¬
sence and creativity. He too played
Don
José
in Zagreb, in
1961,
and
sang in Verdi's Requiem at the
Du¬
brovnik
Summer Festival. He was
one of the best interpreters of the
tenor part in the Requiem anywhere
in Croatia. He was a mainstay of the
Zagreb Opera in some of its major
tours: in
1962
in Berlin in Carmen,
in
1963
in the San Carlo Theatre in
Naples in The Queen of Spades (an
unforgettable Herman) and in
1965
in Japan in Boris Godunov and The
Bartered Bride. In
1968
Bodurov
gave delight in Requiem in Split. At
the Zagreb Opera tour in Japan,
Julija
Viner
(WienerJ-Čeniševa
sang
Yaroslavna at all six performances
of Prince Igor. Earlier on, in
1961,
she had won over the Zagreb audi¬
ences as Leonora in
Л
trovatore,
but
had been somewhat less successful
in
1962
as Elisabeth in Don Carlos.
In
1962 Katja
Popova
sang
Mašenka
in The Bartered Bride in Zagreb,
and in Japan, as well as,
Tatiana
in
Eugene Onegin. Nikola Gjuzelev in
the same tour took the part of Pimen
in Boris Godunov,
Galitsky
in
Prince Igor and Gremin in Eugene
Onegin. By force of circumstances,
his announced guest appearance in
the CNT in Zagreb did not take
place. At the
Dubrovnik
Summer
Festival in
1968
he sang in Verdi's
Requiem. Great interest was excited
by the
1964
guest appearance of
Margarita
Lilová,
member of the
Vienna State Opera. She was ex¬
tremely popular as Amneris, while
opinions about her Carmen were
not unanimous.
When the CNT ensembles got
back into the renovated building in
Zagreb in
1969,
there was a string
of interesting productions. One of
the most exciting was the first
performance after World War II of
The
Mastersingers, in
which Stefan
Stefanoff sang Walther von Stolzing;
in
1970
at the
Dubrovnik
Festival
he was
Florestan
in
Fidelio
(which
was conducted by
Lovro Mataćić,
with Sena Jurinac as Leonore). In
1976
the lead of the Ljubljana Opera
Dimitrij Damjanov sang Manrico in
Zagreb; in
Rijeka
in
1985
and
1986,
he sang Radames. He appeared as
Ismaele in Nabucco in
1986
at the
guest appearance of the Ljubljana
ensemble at the Summer Festival in
Dubrovnik
and in Zagreb. In
1992
he went to Split to sing Canio and
Cavaradossi at premieres of Pag-
liacci and
Tosca.
A great impression
was made by
Ženi Živkova
in
1979
as
Rusalka
at the guest appearance
of the Ljubljana Opera in Zagreb.
In
1983
Stojan
Popov began to make
occasional appearances; in
Rijeka
he sang
Rigoletto,
and in Split Scar-
pia and Amonasro.
The most important of all guest
appearances by Bulgarian operatic
artists in Croatia was that of
Rajna
Kabaivanska in
Tosca
as part of the
Culture Programme for the Zagreb
Opera for the
1987
University Ga¬
mes. She thrilled with her wonderful
creation of the Puccini heroine,
being at that time the world's best
interpreter of that role. Kabaivanska
also showed her superlative singing
skills and supreme power of
interpretation at a festive operatic
concert in Split. She was received
Valentin Enćev
■
Валс
Svetla Vassileva
■
Светла
Василі
and seen off as befitting one of the
greatest divas of the time. In
1987
Svetlana
Kotlenko produced a very
positive impression as Lady Mac¬
beth, although in
1988
her Abigaille
was less well received. Other guest
appearances came from
Bojko Cve-
tanov as Radames at the Split Fes¬
tival in
1987
and
Bozi
da
r Nikolov
in
Traviata in
Zagreb in
1989.
Nikolov
went on appearing in Croatia and
sang Macduff in Macbeth, Alfredo
in
La traviata
and Cavaradossi in
Rijeka
and in
2003,
Don
José
at the
premiere of Carmen in Split. A fre¬
quent guest in Verdi roles in
2001
was the
prima
of the Ljubljana
opera
Galia Gorčeva;
she appeared
as Leonora in The Force of Destiny
and in more recent times has sung
Leonora in
II trovatore,
Aida
and
Abigaille.
After appearing the first time in
1997
in Split as a guest at the
Pla¬
cido
Domingo concert, and making
a great impression,
Svetla
Vassileva
became a firm favourite of the Split
public. In
2005
she sang
Luisa
at the
first Croatian production of Verdi's
Luisa
Miller and produced a vol¬
canic stage interpretation worthy of
the most celebrated of the world's
opera divas. Vassileva also sang at
gala concerts in
1999
in Split and
2003
in Zagreb.
In
1988
Nelly
Boškova
guested as
Herodias
in Salome. As member of
the Vienna State Opera in
1997
she
sang
Ježibaba
in Dvorak's
Rusalka
at a concert performance with the
Zagreb Phil, which she recorded for
the label DiscOver. In
1989
Rumen
Dojkov sang Alfredo at the Summer
Theatre in
Opatija.
In
1990,
Zagreb
heard
Živko Prančev
singing Na-
bucco,
Prančev
was also Scarpia in
the
Tosca
premiere in
Osijek.
Doj¬
kov and
Prančev
appeared together
at the grand production of
Tosca
staged on May
24,1995
marking the
feast of
SS.
Cyril and Method,
conducted by Ruslan
Rajčev
with
Veneta
Janeva
ívelj ití
in the title
role. In
1991
Živko Želev
sang
Alfredo in
La traviata in
Zagreb, as
well as
Almaviva in
The Barber of
Seville, and
Belmonte
at an excellent
premiere of Mozart's Die
Entführ¬
ung aus dem Serail in
Osijek.
Two artists who are bound to
become long-time guests in Croatian
opera companies gave their first
performances in Croatia in
2006.
Gabrijela
Georgieva
(1971)
drew
attention to herself in the
Rijeka
premiere of
La gioconda
as a po¬
werful
lirico spinto,
as well as by
her musical interpretation and per¬
suasive acting. The same qualities
drew applause for Kiril Manolov
(1976)
in CNT in Split as Belcore in
L'elisir d'amore, in
Zagreb as Figaro
in The Barber of Seville and at the
Split Summer Festival as Nabucco
and Amonasro.
The tradition of Bulgarian opera¬
tic artists on opera stages in Croatia
is, without any doubt, continuing.
Text by
Marija
Barbieri
Translated by Graham McMaster |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Barbieri, Marija 1939- |
| author_GND | (DE-588)1029628386 |
| author_facet | Barbieri, Marija 1939- |
| author_role | aut |
| author_sort | Barbieri, Marija 1939- |
| author_variant | m b mb |
| building | Verbundindex |
| bvnumber | BV022453144 |
| ctrlnum | (OCoLC)643097733 (DE-599)BVBBV022453144 |
| era | Geschichte 1920-2006 gnd |
| era_facet | Geschichte 1920-2006 |
| format | Book |
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| geographic | Kroatien (DE-588)4073841-3 gnd Bulgarien (DE-588)4008866-2 gnd |
| geographic_facet | Kroatien Bulgarien |
| id | DE-604.BV022453144 |
| illustrated | Illustrated |
| index_date | 2024-07-02T17:37:21Z |
| indexdate | 2024-08-10T01:05:25Z |
| institution | BVB |
| isbn | 953992412X |
| language | Croatian Bulgarian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-015660970 |
| oclc_num | 643097733 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 303 S. Ill. |
| publishDate | 2006 |
| publishDateSearch | 2006 |
| publishDateSort | 2006 |
| publisher | Hrvatsko-Bugarsko Društvo |
| record_format | marc |
| spelling | Barbieri, Marija 1939- Verfasser (DE-588)1029628386 aut Bugarski pjevači na hrvatskoj opernoj sceni = Bălgarski pevci na chărvatskata operna scena Marija Barbieri Bălgarski pevci na chărvatskata operna scena Zagreb Hrvatsko-Bugarsko Društvo 2006 303 S. Ill. txt rdacontent n rdamedia nc rdacarrier Text bulg. und kroat. - Zsfassung in engl. Sprache u.d.T.: Bulgarian singers on the Croatian opera scene Geschichte 1920-2006 gnd rswk-swf Bulgaren (DE-588)4088623-2 gnd rswk-swf Musikbeziehungen (DE-588)4426966-3 gnd rswk-swf Gastspiel (DE-588)4255674-0 gnd rswk-swf Opernsänger (DE-588)4125219-6 gnd rswk-swf Kroatien (DE-588)4073841-3 gnd rswk-swf Bulgarien (DE-588)4008866-2 gnd rswk-swf Bulgarien (DE-588)4008866-2 g Opernsänger (DE-588)4125219-6 s Musikbeziehungen (DE-588)4426966-3 s Kroatien (DE-588)4073841-3 g Geschichte 1920-2006 z DE-604 Gastspiel (DE-588)4255674-0 s Bulgaren (DE-588)4088623-2 s Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015660970&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015660970&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Barbieri, Marija 1939- Bugarski pjevači na hrvatskoj opernoj sceni = Bălgarski pevci na chărvatskata operna scena Bulgaren (DE-588)4088623-2 gnd Musikbeziehungen (DE-588)4426966-3 gnd Gastspiel (DE-588)4255674-0 gnd Opernsänger (DE-588)4125219-6 gnd |
| subject_GND | (DE-588)4088623-2 (DE-588)4426966-3 (DE-588)4255674-0 (DE-588)4125219-6 (DE-588)4073841-3 (DE-588)4008866-2 |
| title | Bugarski pjevači na hrvatskoj opernoj sceni = Bălgarski pevci na chărvatskata operna scena |
| title_alt | Bălgarski pevci na chărvatskata operna scena |
| title_auth | Bugarski pjevači na hrvatskoj opernoj sceni = Bălgarski pevci na chărvatskata operna scena |
| title_exact_search | Bugarski pjevači na hrvatskoj opernoj sceni = Bălgarski pevci na chărvatskata operna scena |
| title_exact_search_txtP | Bugarski pjevači na hrvatskoj opernoj sceni = Bălgarski pevci na chărvatskata operna scena |
| title_full | Bugarski pjevači na hrvatskoj opernoj sceni = Bălgarski pevci na chărvatskata operna scena Marija Barbieri |
| title_fullStr | Bugarski pjevači na hrvatskoj opernoj sceni = Bălgarski pevci na chărvatskata operna scena Marija Barbieri |
| title_full_unstemmed | Bugarski pjevači na hrvatskoj opernoj sceni = Bălgarski pevci na chărvatskata operna scena Marija Barbieri |
| title_short | Bugarski pjevači na hrvatskoj opernoj sceni |
| title_sort | bugarski pjevaci na hrvatskoj opernoj sceni balgarski pevci na charvatskata operna scena |
| title_sub | = Bălgarski pevci na chărvatskata operna scena |
| topic | Bulgaren (DE-588)4088623-2 gnd Musikbeziehungen (DE-588)4426966-3 gnd Gastspiel (DE-588)4255674-0 gnd Opernsänger (DE-588)4125219-6 gnd |
| topic_facet | Bulgaren Musikbeziehungen Gastspiel Opernsänger Kroatien Bulgarien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015660970&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015660970&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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