Ivan Zajc Nikola Šubic´ Zrinjski Robert Kolar · Kristina Kolar Anamarija Knego · Aljaž Farasin Rijeka Symphony Orchestra & Rijeka Opera Choir Ville Matvejeff

cpo 555 335–2 Booklettestb.indd 1 19.05.2020 08:34:08 Ivan Zajc

cpo 555 335–2 Booklettestb.indd 2 19.05.2020 08:34:08 Ivan Zajc (1832–1914)

Nikola Šubić Zrinjski Musical Tragedy in 3 Acts Libretto: Hugo Badalić based on dramma “Zrinyi” by Theodor Körner

Robert Kolar Nikola Šubić Zrinjski, Croatian Ban, commander of Siget – baritone Kristina Kolar Eva, his wife – mezzo-soprano Anamarija Knego Jelena, their daughter – soprano Aljaž Farasin Lovro Juranić – tenor Marijan Padavić Gašpar Alapić – bass Luka Ortar Suleiman the Majestic, Sultan of Turkey – bass Giorgio Surian jr. Mehmed Sokolović, Grand Vizier – tenor Dario Bercich Levi, Suleiman‘s physician – baritone Martin Marić Vuk Paprutović – tenor

Rijeka Symphony Orchestra Rijeka Opera Choir Ville Matvejeff, Conductor

Nicoletta Olivieri, Chorus master

The CD is live recorded during the performances in Croatian National Theatre „Ivan Zajc“

Dora Ruždjak Podolski, stage director Manuela Paladin Šabanović, costume designer Stefano Katunar, set designer

cpo 555 335–2 Booklettestb.indd 3 19.05.2020 08:34:09 CD 1

1 Ouverture 3‘08

2 Poručio se po me, o silni padišah … [Bercich, Ortar] 6‘49

3 Idi brzo, neka dođe k meni vezir moj, – nek‘ brzo dođe! [Ortar] 0‘21

4 Čudno li krvca mi lije, rata mi srce žudi … [Ortar] 2‘33

5 Smjerno čekam tvoje zapovijedi, možni care! [Ortar, Surian jr.] 3‘30

6 Idi namah, reci im: „Pobjede se vije stijeg, na vojnu je poć.“ [Ortar, Surian jr., Chor] 5‘41

7 Ah, kamo, dragi? Ti ode zar? [Knego, Farasin] 4‘30

8 On ode! Bože, čemu požurit mu se valja? [Knego] 4‘08

9 Šta je, drago dijete? Ništa, ništa majko! Suzu vidim u tvom oku. [K. Kolar, Knego] 2‘11

10 O ženo draga, milo dijete, po cijelom gradu tražim vas! [R. Kolar, K. Kolar, Knego] 3‘02

11 Bane, novu nosim vijest! [Padavić, R. Kolar, Knego, K. Kolar] 1‘50

12 Govori, šta je? U boj, u boj, mač iz toka, bane! [Padavić, R. Kolar, Knego, K. Kolar] 1‘51

13 Nisam ja bogata roda, ne prati tašta me čast. [Farasin, R. Kolar, Knego, Chor] 3‘25

14 Alapić i Juranić, naša dika, naša čast, naše milje, naša čast! [Chor] 1‘36

15 Živio nam svijetli ban! Vi, braćo, sa mnom! [Chor, R. Kolar, Padavić, Farasin, K. Kolar, Knego] 6‘11

16 Junaci, braćo! Ma gdje se Hrvat s Turci bije, za dom se bori svoj! [R. Kolar, Chor] 5‘02

cpo 555 335–2 Booklettestb.indd 4 19.05.2020 08:34:09 17 Još Siget stoji, al‘ Siget moj još nije. [Ortar, Surian jr.] 2‘47

18 Jur puče zid na novom gradu od ognja turskog! [R. Kolar, Padavić, Farasin, Marić] 1‘49

19 „Turski vođa prosi na samu zborit sa Zrinjskim.“ [R. Kolar] 1‘05

20 Gle, kako divno sjaji grad u Božjeg sunca traku …. [R. Kolar] 3‘41

21 Turski vođa! Nek uđe! Sokoloviću, zar si ti? [R. Kolar, Surian jr.] 3‘49

22 Paprutoviću, pali grad! [R. Kolar, Surian jr., K. Kolar, Padavić, Knego, Marić] 1‘30

T.T.: 70'40

CD 2

1 Kako je caru? O, zlo i još će gorje biti! [Surian jr., Bercich, Ortar] 3‘59

2 Utruđen bojem sjedim, još svijet mi drhće sav! [Ortar, Bercich] 3‘25

3 Po želji tvojoj pade Hamza-beg! [Bercich, Ortar, Surian jr.] 3‘33

4 Sad je vlast u mojih ruku, sad će za me Zrinjski čut … [Surian jr.] 1‘19

5 Ovamo, kćeri moja, zaklonimo se ovdje! [K. Kolar, Knego] 4‘50

6 O Bože, gdje sam? Zar tu? Ah tu? [Knego] 5‘15

7 Ljubio je goluban golubicu bijelu … [Chor] 2‘35

8 U nje usta medena, u njeg pogled blagi. [Chor, Knego, Farasin] 7‘06

9 Evo! Pod vedrim nebom zadnju riječ ti zborim … [R. Kolar, K. Kolar] 7‘44

cpo 555 335–2 Booklettestb.indd 5 19.05.2020 08:34:09 10 Gle milog sina, ženo! A gdje je naša kći? [R. Kolar, Farasin, K. Kolar] 1‘10

11 Sad napred braćo, već zove bijesno Ture! [R. Kolar, Farasin, Padavić, Marić, K. Kolar, Chor] 3‘12

12 Katastrofa 1‘02

T.T.: 45‘17

cpo 555 335–2 Booklettestb.indd 6 19.05.2020 08:34:09 Ville Matvejeff (© Antti Savolainen)

cpo 555 335–2 Booklettestb.indd 7 19.05.2020 08:34:09 Es gibt nur wenige Musiker, die in der Kulturgeschichte Kapellmeister bemerkte, wie sehr sein Sprößling von der ihrer Nationen eine so wichtige Rolle gespielt und so viel Musik absorbiert wurde, verschloß er das Pianoforte, denn er getan haben wie der am 3. August 1832 in Rijeka gebore- hatte für seinen Sohn das Studium der Rechtswissenschaften ne und am 16. Dezember 1914 in Zagreb verstorbene Ivan geplant. Die Mutter besaß indes einen zweiten Schlüssel und Edler von Zajc (der auch als Johann und Giovanni unter den ließ den kleinen Ivan an das Instrument, wenn der Vater nicht Lesarten Zajitz, Zaytc, Zaic und von Zaytz zu finden ist). zu Hause war (Antonija Kassowitz-Cvijić). Durch seine vielfältige Tätigkeit als Komponist, Dirigent, Schon damals stand der Lebensweg des jungen Zajc fest, Organisator und Lehrer veränderte er in der zweiten Hälfte und so wurde er schließlich dank seines hohen musikalischen des 19. Jahrhunderts nicht nur die musikalische und kultu- und kompositorischen Talentes vom Mailänder Konservato- relle Landschaft von Zagreb und Kroatien (das damals noch rium angenommen, wo er von 1850 bis 1855 Komposition zum österreichischen Kaiserreich gehörte und hernach ein und Dirigieren studierte. Trotz gründlichster Recherchen läßt Teil der österreichisch-ungarischen Monarchie war): Jüngste sich nicht feststellen, ob Zajc in Mailand von Stefano Ron- Forschungen haben nachdrücklich gezeigt, daß er auch in der chetti Monteviti oder Alberto Mazzucato in der Komposition Geschichte der Wiener Operette und der generellen Entwick- unterrichtet wurde. Außer Frage steht jedoch, daß er an die- lung der italienischen Oper merkliche Spuren hinterlassen ser weltberühmten Akademie eine vorzügliche musikalische hat. Von welch zentraler Bedeutung er für das Zagreber Mu- Ausbildung genossen hat (es sei bemerkt, daß unter Zajcs sikleben und wie wichtig er für kroatische Kunstmusik im Mitschülern die späterhin berühmt gewordenen Komponis- allgemeinen war, erhellt aus der Tatsache, daß die Wissen- ten Arrigo Boito und Amilcare Ponchielli waren). Ein wenig schaft diese Phase der kroatischen Musikgeschichte als die kurios ist der Bericht von Antun Goglia (1932), wonach Zajc »Zajc-Periode« bezeichnet. während seines Mailänder Studiums dieselbe Wohnung in Der Sohn des tschechischen Militärkapellmeisters Ivan der prächtigen Galleria de Cristoforis zur Verfügung stand, Zajc (1800–1854) und seiner aus Bratislava stammenden in der zuvor der junge Giuseppe Verdi gelebt hatte. Gemahlin Anna Bodensteiner (1805–1854) beschäftigte sich Im Frühjahr 1855 gaben die Kadetten des Konserva- schon in seiner Kindheit mit Musik. Vater Ivan Zajc (auch: toriums mehrere erfolgreiche Aufführungen des »drama Zagicz, Zaytz) war 1830 von Bratislava nach Rijeka gekom- lirico« La Tirolese, und schon damals registrierte der Kri- men, wo er fortan die Kapelle des 45. Infanterieregiments tiker der Gazzetta Musicale di Milano vom 6. Mai 1855 das leitete, das dem k.k. Feldzeugmeister Anton Freiherr Mayer »besondere Naturtalent« und die »schöpferische Kraft« des von Heldenfeld gehörte. Zajc der Ältere war Komponist, jungen Zajc. Nachdem dieser seine Kompositionsstudien dirigierte das Theaterorchester und unterrichtete am »Civi- mit Bravour, wenngleich ohne Diplom, absolviert hatte, co Istituto Filarmonico«, wie die Musikschule damals hieß, eröffnete sich ihm nach den Worten von Hubert Pettan die in den Fächern Gesang und Streicherspiel. Es überrascht Möglichkeit, als Dirigent an der berühmten Mailänder Scala daher nicht, daß sich sein Sohn schon mit sechs Jahren im zu arbeiten, doch er kehrte nach Rijeka zurück, um die Auf- Theater von Rijeka unter großer Anerkennung des Publi- gaben seines kurz zuvor verstorbenen Vaters als Dirigent und kums und der Presse auf der Geige produzierte. Als Dreijäh- Stimmführer des Orchesters sowie als Lehrer für Streichinst- riger hatte er von seinem Vater die ersten Stunden auf diesem rumente am Istituto Filarmonico zu übernehmen. Außerdem Instrument und auf dem Klavier erhalten, doch als der Herr wirkte er als Organist und Chorleiter der Kollegienkirche. 8

cpo 555 335–2 Booklettestb.indd 8 19.05.2020 08:34:09 In seiner Heimatstadt schrieb Zajc zweiundsiebzig ein, nach Zagreb zurückzukehren und die dortige Oper zu Werke, von denen als wichtigstes die Oper Amelia ossia dirigieren, und er nahm das Angebot mit Freuden an. Im Il bandito zu nennen ist. Nach einer gefährlichen Lungen- nächsten Jahr sorgte er für die Gründung eines Ensembles. entzündung im Jahre 1862 entschied er sich zu einer Luft- Er erarbeitete ein Opernrepertoire und kümmerte sich um die veränderung und begab sich nach Wien, das als eines der Ausbildung der Berufsmusiker. Unter seiner musikalischen wichtigsten europäischen Kulturzentren der Zeit auf eine Leitung stiegen das Ensemble und das Orchester binnen kür- gewaltige musikalische Tradition zurückblicken konnte. zester Zeit von einem sehr niedrigen Dilettantismus auf ein Zunächst unterrichtete er am Gesangs- und Operninstitut beachtliches professionelles Niveau empor, und schon 1873 der Polyhymnia, doch schon bald machte er sich auch als konnte man in Zagreb Giuseppe Verdi, Wolfgang Amadeus Operettenkomponist einen Namen. Franz von Suppé, der in Mozart, Gioacchino Rossini und Charles Gounod auffüh- Split geboren wurde und seine ersten sechzehn Lebensjahre ren. 1877 wurde sogar Giacomo Meyerbeers große Oper in Zadar zugebracht hatte, vermittelte im Jahre 1863 Zajcs Les Huguenots inszeniert. Operette Mannschaft an Bord! ans Wiener Carlstheater, wo Zajcs gewaltige Energie spiegelt sich deutlich in seiner der junge Kollege nach den erfolgreichen Aufführungen des Tätigkeit im Kroatischen Musikverein, dem er nicht nur als Stückes als Dirigent tätig war. 1869 engagierte ihn zudem Direktor vorstand, sondern auch als Gesangs- und Klavier- das berühmte Theater an der Wien. lehrer sowie als Leiter des Schulorchesters diente (bis 1891 In der Donaumetropole komponierte Zajc insgesamt war er obendrein für die Aufführung der Figuralmessen am vierundzwanzig Operetten, von denen die Hälfte mit mehr Dom verantwortlich). Noch bemerkenswerter ist das wahr- oder minder großem Publikums- und Presse-Erfolg insze- haft große Œuvre, das er in dieser Zeit geschaffen hat. Das niert wurden. Aus den damaligen Rezensionen fanden Fitz- von Hubert Pettan zusammengetragene Verzeichnis enthält liputzli oder Die Teufelchen der Ehe, Die Hexe von Boissy, 1.202 numerierte Werke sowie zweiundsechzig Kompositi- Somnambule und Der Meisterschuss von Pottenstein die onen ohne Opuszahl, wovon freilich einiges abzuziehen ist, beste Aufnahme. Ein guter Teil der in Wien entstandenen da die Nomenklatur und die Zählung gewisse Diskrepanzen Operetten kam auch auf die Bühnen von Prag, Brünn, Bratis- aufweisen. Dessen ungeachtet hat Zajc siebenundzwanzig lava, Budapest und Pilsen, während Der Raub der Sabinerin- Opern geschrieben (von denen allerdings fünf nicht vollen- nen sogar in Berlin zu sehen war. Die Wiener Verleger Carl det wurden); ferner gibt es von ihm dreißig Operetten und Haslinger und Carl Anton Spina publizierten einige seiner ebensoviele andere Musiktheaterwerke, mehr als fünfhun- Kompositionen (vor allem Tänze, Potpourris und Fantasien dert Chöre, zweihundert Sololieder, einhundert Orchester- über die beliebtesten Operetten), indessen einige bekannte stücke und eine große Zahl an Klavierminiaturen. Zudem Wiener Komponisten wie Eduard Strauß, Carl Michael hat Zajc zahlreiche wichtige Kirchenmusiken geschaffen Ziehrer oder Alexander Leitermayer »einige seiner Werke – darunter fünfzehn Messen mit Orchesterbegleitung, vier arrangierten oder sich von Themen aus denselben zu eigenen Requiem-Vertonungen sowie eine Reihe geistlicher Lieder, Kompositionen anregen ließen« (Vjera Katalinić). Graduales, Offertorien und Hymnen. Einige Werke dienten Die Wiener Erfolge des Komponisten Ivan von Zajc dem Unterricht und sind das Resultat seiner eigenen päda- schlugen sich auch in seiner Heimat nieder, wo seine gogischen Arbeit vor allem mit Sänger(inne)n, von denen Chorwerke vielfach aufgeführt wurden. 1869 lud man ihn unter anderem Josip Kašman (Giuseppe Kaschmann), Draga 9

cpo 555 335–2 Booklettestb.indd 9 19.05.2020 08:34:09 Hauptfeld und Sofia Kramberger später an einigen der be- slawische (insbesondere tschechische) Elemente ausmachen. kanntesten Opernhäuser Europas und der Welt auftraten. Man könnte diese als das Streben nach einem nationalen mu- Zu Lebzeiten wurde Ivan von Zajc in seiner Heimat sikalischen Ausdruck interpretieren, der sich auf die Volks- sehr geschätzt und gefeiert, es gab viele Aufführungen sei- musik Kroatiens stützte – das allerdings im Rahmen des pan- ner Werke und zahlreiche Veranstaltungen zu seinen Ehren. slawischen Gedankenguts, das in den damaligen politischen Demgegenüber hat man sich bislang nur teilweise mit einer Tendenzen gegenwärtig war. Eines jedoch steht neben der neuerlichen Bewertung seines Œuvres befaßt, und es haben souveränen Beherrschung des Metiers ganz außer Frage: Die sich nur einige wenige Opern und symphonische Kompositi- größte Qualität in Zajcs Kompositionen, von denen einige onen im Repertoire gehalten. Der Grund dafür ist vor allem erst noch ihren Weg ins Standardrepertoire der Konzertsäle der Tatsache zuzuschreiben, daß man zu seinen Lebzeiten finden müssen – das ist eine gleichsam von Gott gegebene zwar (meist kleiner dimensionierte) Chorwerke, Lieder und Fähigkeit der melodischen Erfindung. Klavierstücke veröffentlicht hat, wohingegen von seinen Bühnen- und Orchesterwerken kaum etwas im Druck und – *** mit Ausnahme der Oper Nikola Šubić Zrinjski – in Partitur erschienen ist. Für sein Libretto zu der Oper Nikola Šubić Zrinjski Von seinem gewaltigen Œuvre sind vor allem die Opern benutzte der kroatische Schriftsteller Hugo Badalić (1851– von künstlerischem Wert und Interesse. Stellvertretend seien 1900) das Schauspiel Zriny, das der junge deutsche Dichter hier nur Lizinka, Mislav, Ban Leget, Die Hexe von Boissy, und Dramatiker Theodor Körner (1791–1813) ein Jahr vor Oče naš (»Das Vaterunser«), Die erste Sünde und I Minatori seinem Tode geschrieben hatte. Dieses Drama basiert auf (La dea della montagna) genannt. Es überrascht nicht, daß einem Ereignis aus dem Jahre 1566 – auf der historischen viele dieser Werke die eindeutigen Spuren der italienischen Schlacht von Sziget. Bei seinem letzten Kriegszug gegen Opern aus dem frühen und mittleren 19. Jahrhundert zeigen, Wien belagerte Sultan Suleiman der Prächtige einen ganzen denn schließlich hatte Zajc seine prägenden Jahre, bevor er Monat lang die südungarische Festung, in der vorwiegend zum Studium nach Mailand ging, in der Stadt Rijeka ver- kroatische sowie einige ungarische Einheiten unter dem bracht, die auf Grund ihrer Geschichte und geographischen Kommando des Staatsmannes und Generals Nikola Šubić Nachbarschaft sehr stark von Italien beeinflußt war. In ei- Zrinski die Stellung hielten. Ganze 2.500 Mann zählten nigen seiner Opern benutzte er italienische Texte, und in die Verteidiger, die den beinahe 100.000 Türken allerdings Kommentaren ist immer wieder die Rede von dem mäch- schwere Verlust beibrachten und so den weiteren Vormarsch tigen Einfluß, den der unverhohlen bewunderte und beinahe des Heeres beendeten. Bei der heroischen Schlacht wurde imitierte Giuseppe Verdi auf die musikalische Idiomatik des die Besatzung der kleinen Garnison nahezu aufgerieben, zwanzig Jahre jüngeren Kroaten ausgeübt hat. doch die Osmanen verloren ihrerseits an die 30.000 Sol- Spürbar hat sich in den Opern natürlich auch eine andere daten. Nach historischen Unterlagen sollen lediglich vier Umgebung niedergeschlagen, in der Zajc viele Jahre lebte Überlebende des Kampfes aus osmanischer Gefangenschaft – die Kaiserstadt Wien und hier vor allem die Wiener Ope- freigekauft worden sein, darunter Zrinskis Sekretär und rette. In der Melodik und Rhythmik einiger Opern, die nach Kammerdiener Ferenac Črnko. Seine erschreckende Chro- seiner Rückkehr in die Heimat entstanden sind, lassen sich nik Die Belagerung und Einnahme von Sziget wurde 1568 10

cpo 555 335–2 Booklettestb.indd 10 19.05.2020 08:34:10 aus dem Kroatischen ins Lateinische übersetzt und erschien fanatischem Charakter und zögern nicht, für Freiheit, Ehre, in Wien unter dem Titel Historia Szigethi – eine detaillierte Glauben und Vaterland zu sterben. Daher überrascht es nicht, Beschreibung vom Verlauf der Belagerung, der eigentlichen daß das auf dem literarischen Original fußende Libretto des Schlacht und ihrem blutigen Ende. Črnkos ergreifendes Do- Zrinjski in der zweiten Hälfte des 19. Jahrhunderts, als in kument bildete die Grundlage vieler anderer Texte über die Kroatien der Kampf um die nationale Selbständigkeit in Belagerung Szigets. Eines der wichtigsten Bücher stammte vollem Schwange war und die Wellen der patriotischen Be- von Graf Nikola Zrinjski (Miklós Zrinyi), dem Urenkel des geisterung hoch gingen, bei der Zagreber Uraufführung am legendären Kommandanten: Az Adriai tengernek syrenaia 4. November 1876 starke Reaktionen auslöste. Das Werk (»Die Sirene des adriatischen Meeres«) wurde 1651 in Wien selbst galt seines Gegenstandes wegen als Musterbeispiel veröffentlicht und von Nikolas Bruder Petar als Adrijanskog einer Nationaloper und ließ um sich eine Aura entstehen, die mora sirena ins Kroatische übersetzt. sich bis auf den heutigen Tag erhalten hat. Sowohl die Kroaten als auch die Ungarn bezeichnen Was sofort auffällt, wenn man Körners Zriny mit dem Nikola Šubić Zrinski als einen der Ihren (er wurde im heute Libretto vergleicht, das Badalić auf der Grundlage dieses südkroatischen Zrin geboren und war Ban, also Gouverneur, Schauspiels für die Oper Nikola Šubić Zrinjski geschrie- von Kroatien-Slawonien-Dalmatien). Desto bemerkenswer- ben hat, ist der bedeutende Unterschied der Dimensionen. ter ist es, daß er, eine Persönlichkeit der kroatischen und Badalić hat die ursprünglich dreitausend Verse auf rund ein ungarischen Geschichte, durch die deutsche Literatur zur Drittel reduziert. Einige Sätze sind wörtliche Übersetzun- Hauptfigur eines Opernlibrettos wurde – genauer gesagt: gen aus dem Deutschen, doch eine große Zahl stammt von durch die Quellen, die Theodor Körner mit großem Fleiß Badalić selbst, der einfachere, kürzere, oft symmetrische zusammengetragen hatte, bevor er seine Tragödie schrieb. Verse schuf, deren einzige Funktion darin bestand, geeignete Diese wurde 1832 in deutscher Sprache am National- Vorlagen für die Vertonung oder musikalische Einrichtung zu theater von Zagreb aufgeführt. 1841 folgte eine Version in liefern. Nach den Worten des Dichters und Kritikers Milan kroatischer Übersetzung. Es ist interessant, daß das Stück in Ogrizović ist das Libretto »nichts anderes als ein Exzerpt Zagreb als »vaterländisches Drama« figurierte und nicht, wie von wichtigsten inhaltlichen Momenten der Körner’schen es der Originaltitel will, als »Trauerspiel« gegeben wurde. Tragödie, d.h. deren Skelett mit sehr wenigen eigenen Die napoleonischen Kriege hatten Deutschland zu Beginn Kompositionsgedanken, stellenweise auch buchstäblich des 19. Jahrhunderts in seinen Grundfesten erschüttert (Kör- (in Versen wie auch in Regieanmerkungen) dem Original ner selbst starb am 26. August 1813 bei Lützow den »Hel- entnommen«. Literaturtheoretiker sind sich darüber einig, dentod« als Freiwilliger in einem der letzten Kämpfe gegen daß Badalić aus kompositorischen Gesichtspunkten ein sehr den Korsen). Das anschließende Erstarken des Nationalbe- gutes Libretto verfaßt und die Kürzungen sehr geschickt wußtseins weckte ohne Frage das Interesse der Schriftsteller ausgeführt hat, daß der Ablauf logisch begründet und von an heroischen und patriotischen Themen. Die Schlacht von literarischer Seite weder an der textlichen Komposition noch Sziget – ein lehrreiches Exempel, ein Musterbeispiel der an den Versen (aus dem Blickwinkel des damaligen Zeit- höchsten patriotischen Tat und des ultimativen Opfers für geistes natürlich) etwas auszusetzen ist. Die formale Struk- die Heimat – nahm im Laufe der Zeit geradezu mythische tur des Körner’schen Originals spiegelt sich im Aufbau des Dimensionen an. Körners Helden sind von gewissermaßen Librettos wider. Badalić hat die fünf Akte des Schauspiels 11

cpo 555 335–2 Booklettestb.indd 11 19.05.2020 08:34:10 (mit ihren jeweils neun bis elf Auftritten) auf drei Aufzüge sind. So erzeugt Zajc (unterstützt von seinem Librettisten) komprimiert: I. zwölf Szenen und Nummern, II. acht Szenen im Wirrwarr des Krieges und dem verstörenden Klirren der zu dreizehn Nummern (darunter vier Tänze), und III. zwölf Waffen musikalische Oasen, deren idyllische oder elegische Szenen, denen sich Katastrophe und Apotheose anschließen. Stimmungen sich als suggestive, dramaturgisch gerundete Diese formale Disposition führte, wenn man die Kürze der Einheiten darstellen. Dementsprechend stehen die intimen Nummern betrachtet, zu einer gewissen Fragmentierung des Tragödien und Schicksale der Einzelpersonen in einem dramatischen Zeitstroms, so daß Zajcs Werk weder szenisch mächtigen Kontrast zu den Massenszenen, worin die Ensem- noch musikalisch dieselbe formale Monumentalität erreicht bles die Rolle der vox populi spielen und die Vertreter einer wie Meyerbeers Hugenotten, obwohl auch Nikola Šubić kollektiven Identität darstellen. Zrinjski zum Genre der historischen Oper gehört. Die gesamte Oper enthält eine Reihe melodischer Arien Der als »musikalische Tragödie« untertitelte Dreiakter und feiner Orchesterwirkungen (die kammermusikalischen Nikola Šubić Zrinjski ist seiner Gattung und Form nach eine Klänge der lyrischen Szenen begegnen den Tutti der drama- klassische Oper mit musikalischen Nummern, wie wir sie tischen Auftritte): »Der Hörer ist fasziniert von der klangli- gleichermaßen in Gioacchino Rossinis opere serie finden, chen Originalität und der inspirierten musikalischen Drama- die sich in der ersten Hälfte des 19. Jahrhunderts in Italien turgie, für die sich im damaligen italienischen Opernschaffen etablierten. Daß sie als historische, heroische und nationale kaum ein Vorbild wird finden lassen«. Besonders fällt das Oper wahrgenommen wird, liegt zunächst einmal am Ge- Rezitativ ins Auge, das »die formale Abgrenzung zur Arie genstand und Inhalt des Textbuches, dann aber auch an dem überwand und mit dieser eine dramaturgisch verknüpfte Be- großen Reichtum chorischer Sätze – von den insgesamt ziehung einging, die für Zajcs Zeitgenossen, insbesondere zweiunddreißig Nummern des Werkes ist ein Drittel dem die Italiener, völlig unerreichbar war« (Mladen Tarbuk). Chor überlassen, der überdies rund zwanzig Antworten und Es muß indes gesagt werden, daß das musikalische Kommentare unterschiedlicher Länge zu singen hat. Hier fin- Idiom der Oper Nikola Šubić Zrinjski in harmonischer oder den sich, namentlich in der Form von Märschen, zahlreiche kompositionstechnischer Hinsicht gegenüber der damaligen Elemente der Militärmusik. Und endlich ist auch die deutlich Opernpraxis nichts Neues zu bieten hat. Gleichwohl drückt hervorgehobene Beziehung zwischen Werk und Nation ein die Synthese, die Ivan Zajc aus Elementen der italienischen typisches Kennzeichen für die Nationaloper. Daneben neh- Oper und der Wiener Operette sowie einigen Charakteristi- men indes in Nikola Šubić Zrinjski auch die private Familien- ka der slawischen Musik im Feuer seiner Inspiration »ge- tragödie Zrinjskis sowie die ergreifende Liebesgeschichte schmiedet« hat, dem Werk einen ganz und gar originellen seiner Tochter Jelena und des Offiziers Juranić einen großen Stempel auf. Zwar beklagt Sieghart Döhring (Oper und Mu- Platz ein. Wenngleich diese Handlungsstränge nicht im Zen- sikdrama im 19. Jahrhundert), Zajc habe vor der Aufgabe trum der Ereignisse stehen – den Brennpunkt des Geschehens versagt, »den Gegensatz zwischen Kroaten und Türken mit bildet natürlich der epische Lärm der Waffen –, so offenbart musikalischen Mitteln kontrastdramaturgisch auszuspielen«. Zajc doch gerade in den Duetten und Arien des dritten Aktes Dennoch ist zu sagen, daß der Komponist mit einigen kroa- die ganze Schönheit seines lyrischen Künstlertums und me- tischen Volksweisen (wie etwa Die Elster hat einen langen lodramatischen Talentes, dank derer ihm hier eindrucksvolle Schweif in Jelenas Traum) und dem »vielgliedrigen slawi- Kontraste zu den heroischen Teilen des Werkes gelungen schen Gesang« versucht hat, die Unterschiede zwischen den 12

cpo 555 335–2 Booklettestb.indd 12 19.05.2020 08:34:10 Welten der beiden Völker zu betonen. Wenn ihm das nicht unter denen vor allem die schon 1866 entstandene Nummer vollständig gelungen sein sollte, so wohl deshalb, weil die U boj! U boj! (»Zum Kampf! Zum Kampf!«) hervorzuheben Sammlung des kroatischen Volksliedgutes zu seiner Zeit ist, haben die Oper Nikola Šubić Zrinjski auch außerhalb noch unterentwickelt war. ihrer Heimat bekannt gemacht. Als Kuriosität sollte erwähnt Ferner sei es, so Döhring weiter, dem Komponisten nicht werden, daß man Zrinjski sogar in Japan kennt, denn das gelungen, »in der formalen Disposition der Massenszenen Sujet – die Selbstaufopferung für die Heimat – stimmt in den Anforderungen der Gattung gerecht zu werden. Klein- seinen Grundzügen mit der Ethik und dem Verhaltenskodex teiligkeit auf der Basis von Lied- und Marschtypen bildet der Samurai überein, die im feudalen Japan bereit waren, ihr das durchgehende Strukturprinzip.« Hier sind allerdings die Leben für die Ehre und den Kaiser hinzugeben. So gehört der Gegebenheiten des Textbuches in Betracht zu ziehen, das ja Chor U boj, u boj! zum Standardrepertoire etlicher Männer- eine fragmentierte Version des Körner’schen Schauspiels gesangvereine, von denen einige das Stück zu ihrer Hymne und seiner Form darstellt. Überdies sei betont, daß sich die gemacht haben. Bedingungen in Zagreb, das Niveau seiner musikalischen Kultur, die Wahrnehmungsfähigkeiten des dortigen Publi- Davor Merkaš kums sowie die technischen und szenischen Möglichkeiten des Opernhauses ebensowenig mit den vorteilhaften Gege- benheiten anderer europäischer Städte und Spielstätten ver- Die Handlung der Oper gleichen ließen wie der Professionalismus und die Größe des Chores und des Orchesters. Ivan Zajc konnte nirgends die Ouvertüre formale oder psychologische Monumentalität und Bühnen- Erster Akt (3 Bilder, 12 Szenen) wirksamkeit erreichen, die die große Oper à la Meyerbeer Sultan Suleiman der Prächtige begibt sich auf einen auszeichnet – und er hat es auch nicht versucht. Die in der Feldzug, um die Stadt Wien zu erobern. Auf dem Weg dort- vorliegenden Aufnahme leider nicht enthaltenen Ballett- hin muß er die ungarische Festung Sziget überwinden, die nummern vom Anfang des zweiten Aktes waren die ersten von einer kleinen kroatisch-ungarischen Truppe unter dem in der Geschichte des Kroatischen Nationaltheaters. Sie bil- Kommando des berühmten Generals und kroatischen Gou- den einen eigenen kulturellen Wert und nehmen in der Ge- verneurs Nikola Šubić Zrinjski gehalten wird. Der Geheim- schichte der kroatischen Tanzkunst einen besonderen Platz dienst berichtet in Sziget von den Truppenbewegungen, und ein, denn sie markieren die Geburtsstunde des Kroatischen man macht sich zur Verteidigung bereit. – Der Offizier Lovro Nationalballetts. Juranić bittet inzwischen seinen Vorgesetzten um die Hand Nikola Šubić Zrinjski spielt in der Operngeschichte Kro- seiner Tochter Jelena. Zrinjski gibt seine Zustimmung: Nach atiens eine ganz besondere Rolle: Sie ist die meistgespielte dem erfolgreichen Ende des Kampfes soll die Hochzeit statt- Oper in der Geschichte des Kroatischen Nationaltheaters Za- finden. Er ernennt Gašpar Alapić zu seinem stellvertretenden greb und hat neben Jakov Gotovacs Ero der Schelm von allen Befehlshaber und leistet mit der gesamten Garnison den Eid, Opern kroatischer Komponisten die meisten Aufführung im Sziget bis zum letzten Blutstropfen verteidigen zu wollen. In- und Ausland erlebt. Die prägnanten, leicht einprägsamen Melodien und die strenge archetypische Kraft ihrer Chöre,

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cpo 555 335–2 Booklettestb.indd 13 19.05.2020 08:34:10 Zweiter Akt (2 Bilder, 8 Szenen) Robert Kolar Die Osmanen feiern in ihrem Lager vor Sziget den Jah- restag ihres Sieges in der Schlacht von Mohács, die Timoleon Der Bariton Robert Kolar ist Solist der Kroatischen Na- in seinem Couplet beschreibt. Suleiman schickt Mehmed Pa- tionaloper Ivan pl. Zajc in Rijeka. Außer im Theater ist er scha als Parlamentär nach Sziget. Dieser soll Zrinjski – sei’s auch in symphonischen und kammermusikalischen Produk- durch Drohungen, sei’s durch Bestechung – zur Kapitulation tionen sowie in Messen- und Requiem-Aufführungen zu bewegen. Der Kommandant weiß sehr wohl, daß die Mauern hören, wobei er Werke vom Barock bis zum Gegenwarts- einem türkischen Angriff nicht werden standhalten können. schaffen beherrscht. Er hat unter der Leitung bedeuten- Demzufolge befiehlt er, alle Bürger mit ihrer Habe in die alte der kroatischer und auswärtiger Dirigenten gesungen und Burg (= Szigetvár) zu bringen und die Stadt selbst in Brand zudem die beiden Alben Sakralna glazba riječkih skladatelja zu setzen. Mit seiner Romanze nimmt er ahnungsvoll Ab- (»Geistliche Musik von Komponisten aus Rijeka«) und Hr- schied von der Stadt (»Lebt wohl, ihr stillen Hallen, mit euch vatska solo popijevka (»Solistische Volkslieder aus Kroati- wird Zrinjski fallen«). Mehmed Pascha tritt auf und übermit- en«) aufgenommen. Sein Bühnenrepertoire umfasst mehr als telt Suleimans Bedingungen. Zrinjski lehnt diese verächtlich dreißig Opernpartien, darunter die Titelpartien des Nabucco ab und weist auf die Flammen, die die Stadt verzehren. und des Rigoletto sowie den Ford in Falstaff; Figaro in Il Barbiere di Siviglia; Belcore in L’elisir d’amore und Lord Dritter Akt Enrico Ashton in Lucia di Lammermoor; Gérard in Andrea (3 Bilder, 12 Szenen, Katastrophe und Apotheose) Chénier; Sharpless in Madama Butterfly und die Titelfigur Sultan Suleiman verstirbt in seinem Zelt. Mehmed will des Eugen Onegin. Robert Kolar war in zahlreichen Opern den Tod vor dem Heer geheimhalten und nach Stambul zu- von Ivan Zajc zu hören. Unter anderem sang er Vasilij in rückkehren, sobald die Schlacht geschlagen ist. – Im unter- Lizinka, Corrado in Amelija, Marko in Momci na brod, Pero irdischen Gewölbe der Burg singt Jelena das Wiegenlied in Zlatka und Levi in Nikola Šubić Zrinjski. ihrer Mutter. Sie schlummert ein und sieht im Traume einen Feenchor, der ihre Vermählung mit Juranić feiert. Kristina Kolar Sie schrickt auf, indessen der Geliebte mit beängstigenden Nachrichten eintritt. Jelena will eher von seinem Dolche Kristina Kolar studierte Operngesang an der Musikhoch- sterben als den Osmanen in die Hände fallen. Nach einem schule von Zagreb, bevor sie ihre Ausbildung in der Klasse kurzen Lebewohl tut Juranić, wie ihm geheißen. Zrinjski und des Dirigenten Giuseppe Montanari, des damaligen künstle- seine Gemahlin Eva nehmen vor der Entscheidungsschlacht rischen Leiters der Mailänder Scala, an der Accademia Lirica voneinander Abschied. Dann gibt der Kommandant die letz- del Rotary International fortsetzte. Seit 1996 gehört auch sie ten Befehle. Er verabschiedet sich von seinen Soldaten und als erste Solistin zum Ensemble der Kroatischen National- Offizieren und ruft noch einmal mit dem Chor: U boj – In die oper Ivan pl. Zajc, und seit 2019 führt sie den Titel einer Schlacht. Die Apotheose ist ein tableau vivant. Es zeigt den Ersten Nationalen Solistin. Ausfall der Truppen aus der brennenden Stadt und das Chaos Auf kroatischen und internationalen Bühnen hat sie – zu- des Gemetzels. Damit endet die Oper. nächst als Mezzo und dann als Sopranistin – mehr als fünfzig Partien gesungen. Zu nennen sind hier unter anderem Lady 14

cpo 555 335–2 Booklettestb.indd 14 19.05.2020 08:34:10 Macbeth (Macbeth), Abigaille und Fenena (Nabucco), Pre- Darstellung der Miss Jessel in Benjamin Brittens Turn of ziosilla (La forza del destino), Meg (Falstaff), Maddalena di the Screw. Coigny (Andrea Chénier), Ciesca (Gianni Schicchi), Laura (La Gioconda), Donna Elvira (Don Giovanni), Dorabella Aljaž Farasin (Così fan tutte), Marianna (Il signor Bruschino), Principes- sa (Adriana Lecouvreur), die Titelfiguren der Aida, Tosca, Aljaž Farasin begann seine solistische Laufbahn im Manon Lescaut und Carmen sowie die Partie der Eva in Ivan Jahre 2009. Seither war er in vielen Tenorpartien zu hören: Zajcs Nikola Šubić Zrinjski. Während der letzten Jahre gas- als Don José (Carmen), Herzog von Mantua (Rigoletto), tierte Kristina Kolar regelmäßig an japanischen, finnischen, Alfredo (Traviata), Ismaele (Nabucco), Macduff (Macbeth), deutschen, ungarischen, italienischen und slowenischen Rodolfo (La Bohème), Pinkerton (Madame Butterfly), Boris Häusern. (Katja Kabanova), Naraboth (Salome), Jaquino (Fidelio), Neben ihrer Bühnentätigkeit widmet sie sich einem viel- Steuermann (Der fliegende Holländer), Sempronio (Der fältigen Konzertrepertoire mit Werken von Verdi, Pergolesi, Apotheker), Lenski (Eugen Onegin), Fenton (Falstaff), Mozart, Beethoven, Haydn, Ristori, Rossini, Mahler und Romeo (Romeo et Juliette), Godefroy de Vaudemont (Jolan- anderen. Sie wurde für ihre außergewöhnlichen Interpreta- ta), Tamino (Die Zauberflöte), Don Ottavio (Don Giovanni), tionen vielfach ausgezeichnet. Nemorino (L’elisir d’Amore), Rinnucio (Gianni Schicchi), Camille (Die lustige Witwe), Alfred (Die Fledermaus) und Anamarija Knego Ecclitico (Il Mondo della Luna). Dazu kamen die Titelpartie des Werther von Massenet und der Faust von Charles Gou- Anamarija Knego studierte an der Musikhochschu- nod, den er unter der Leitung von Ville Matvejeff gemein- le von Zagreb, wo sie im Jahre 2006 ihr Examen als sam mit Carlo Colombara, Lucio Gallo, Marjukka Tepponen, Solistin absolvierte. Sie wurde inzwischen durch zahl- Diana Haller und Waltteri Torikka für Naxos aufgenommen reiche Partien bekannt. Unter anderem sang sie Miss hat. Mit dem Opernensemble von Rijeka entstand zudem eine Jessel (The Turn of the Screw), Micaëla (Carmen), Aufnahme des Ritorno del Marinaio von Franz von Suppé, Cleopatra (Giulio Cesare), Sophie (Werther), Alice worin Farasin die Rolle des Niccolo gesungen hat. Als Don (Falstaff), Mimi (La Bohème), Juliette (Romeo et Juli- José (Carmen) gastierte er bei Tourneen in Belgien, Japan ette) und Susanna (Le nozze di Figaro), CIO-CIO-San und den Niederlanden. Zu seinem umfangreichen Konzert- (Madama Butterfly) sowie die Jelena in Ivan Zajcs Nikola repertoire gehören unter anderem die Requiem-Vertonungen Šubić Zrinjski. von Giuseppe Verdi und Wolfgang Amadeus Mozart. Die Tatjana gab sie unter anderem in Krakau an der Seite Zu den Solisten und Dirigenten, mit denen Aljaž Farasin des Eugen Onegin Mariusz Kwiecień, einem der führenden bislang auf der Bühne und im Konzertsaal zusammengear- Baritone unserer Zeit. Für ihre Desdemona in Verdis Otello beitet hat, gehören außer den bereits genannten Künstlern wurde sie vom Publikum und der Kritik gefeiert (die Insze- unter anderem Sumi Jo, Veronika Dzihoeva, Maida Hun- nierung erhielt den kroatischen Schauspielpreis). Zu den deling, Veselina Kasarova, Tibor Bogány, Loris Voltoli- zahlreichen hochkarätigen Auszeichnungen der Künstlerin ni, Nikša Bareza, Jan Latham-Koenig, Jaroslav Kyzlink, gehört unter anderem der kroatische Theaterpreis für ihre Ricardo Casero, Alberto Martinolli, Stephano Pellegrino, 15

cpo 555 335–2 Booklettestb.indd 15 19.05.2020 08:34:10 Uroš Lajovic, Marko Letonja, Daniel Lipton, Alexandar Bohème, Banco in Macbeth und Pistol in Falstaff sowie den Marković, Yordan Kamdzhalov und Marc Tardue. Levi in Ivan Zajcs Nikola Šubić Zrinjski.

Luka Ortar Opernkompanie des Kroatischen Nationaltheaters Ivan p. Zajc Rijeka Der Bassbariton Luka Ortar begann seine musikali- sche Laufbahn als Trompeter. Im November 2012 ging er Die Operntradition der Stadt Rijeka reicht bis ins 19. mit Anna Netrebko, dem Slowenischen Kammerchor und Jahrhundert zurück. Zur Einweihung des neuen Teatro Co- den Slowenischen Philharmonikern auf eine einmonatige munale dirigierte Maestro Gaetano Cimini am 3. Oktober Europatournee, bei der Peter Tschaikowskys Oper Jolanta 1885 Giuseppe Verdis Aida, die noch nie zuvor in Rijeka zu aufgeführt wurde. Zu seinen herausragenden Rollen gehören hören gewesen war. Bei der Aufführung wirkten prominente der König von Ägypten (Aida), Colline (La Bohème), Mon- Künstlerinnen mit: Medea Borelli, Clotilde Sartori und Mary tano (Otello), Avenant (La Belle et la Bête), die Titelrolle Guttenberg. In den folgenden Jahren gastierten zahlreiche des Mozart’schen Figaro und der Sulejman in Ivan Zajcs bekannte Persönlichkeiten der Opernszene in der Stadt. Da- Nikola Šubić Zrinjski. Er hat an zahlreichen Seminaren und runter waren Giacomo Puccini (1895) und Pietro Mascagni Wettbewerben teilgenommen, wo er seine Interpretationen (1924), Enrico Caruso (1898), Beniamino Gigli (1941) und weiterentwickelte und vervollkommnete. Zinka Kunc Milanov (1948 und 1950). Die gegenwärtige Opernkompanie wurde am 4. Januar Dario Bercich 1946 gegründet und besteht derzeit aus dem Symphonie- orchester, dem Opernchor und einem solistischen Vokalen- Der Bassbariton Dario Bercich ist Solist der Kroatischen semble. Neben der Oper gibt es drei weitere Kompanien Nationaloper Ivan pl. Zajc in Rijeka. Er absolvierte sein Stu- am Kroatischen Nationaltheater, das den Namen des Kom- dium bei Adele Bonay und Cologero Antonio Vittorio Terra- ponisten Ivan Zajc trägt und 1946 nicht zufällig mit einer nova am Mailänder Konservatorium Giuseppe Verdi. Er ist Aufführung seines Nikola Šubić Zrinjski eröffnet wurde. Die in mehr als fünfunddreißig Opernpartien, in vier Operetten musikalische Leitung lag in den Händen von Boris Papan- und Musicals sowie in zahlreichen Konzerten und Schau- dopoulo, einem der führenden kroatischen Komponisten des spielproduktionen aufgetreten. Von seinen Opernpartien 20. Jahrhunderts, der damals als künstlerischer Direktor der nennt der Künstler vor allem: die Titelrolle des Mozart’schen Kompanie wirkte. Figaro, den Saretski und den Hauptmann in Eugene Onegin, In den letzten fünf Jahren hat die Oper von Rijeka ihr Escamillo in Carmen, den Boten in Oedipus Rex, Manuel Repertoire bedeutend erweitert. Man inszenierte Werke von in La vida breve, Pietro Fléville in Andrea Chenier, die Händels Giulio Cesare in Egitto, Purcells Dido and Aeneas, Mamma Agata in Donizettis Convenienze ed inconvenienze Mozarts Don Giovanni und Le Nozze di Figaro über Belli- teatrali, den Grafen di Monterone in Rigoletto, Masetto in nis Norma und Donizettis Le convenienze ed inconvenienze Don Giovanni, Albert in Werther, Montano in Otello, Bar- teatrali, Verdis Macbeth, Otello und Falstaff, Wagners Tris- tolo in Il Barbiere di Siviglia, den Erzähler in der »magi- tan und Isolde, Massenets Werther und Gounods Romeo et schen Oper« Klothó von Martyna Kosecka, Schaunard in La Juliette bis hin zu Puccinis Madama Butterfly, La Boheme 16

cpo 555 335–2 Booklettestb.indd 16 19.05.2020 08:34:10 und Tosca, Giordanos Andrea Chenier, Strauss’ Elektra, Ville Matvejeff Szymanowskys Krol Roger und Strawinskys Oedipus Rex. Der Dirigent, Komponist und Pianist Ville Matvejeff hat Symphonieorchester Rijeka (RSO) inzwischen bereits als außerordentlich vielseitiger Künstler große Erfolge feiern können. Er ist Chefdirigent der Jyväs- Das Symphonieorchester Rijeka widmet sich der Auf- kylä Sinfonia, künstlerischer Leiter des Festivals von Turku führung von Opern und Balletten sowie einem breiten Re- und Erster Gastdirigent der Kroatischen Nationaloper Ivan pertoire an symphonischer Musik. pl. Zajc. Im Laufe seiner Geschichte haben viele ausgezeichnete Er debütierte zuletzt bei den Duisburger Philharmoni- nationale und internationale Dirigenten das Orchester des kern und dem Estnischen Nationalorchester sowie bei den Kroatischen Nationaltheaters Rijeka geleitet, das seinen Symphonieorchestern von Lahti und Sønderjylland. Er neuen Namen erhielt, als Rijeka die Europäische Kultur- beherrscht ein großes Opernrepertoire von Mozarts Nozze hauptstadt war (2020). Unter den renommierten Orches- di Figaro und Aribert Reimanns Lear bis hin zu zeitgenös- terleitern finden wir die historischen Namen Boris Papan- sischen Produktionen wie Akseli von Kimmo Hakola (mit dopulo, Lovro von Matačić, Ivo Malec sowie – in jüngerer Jorma Hynninen in der Titelrolle) oder Mikko Heiniös Eerik Zeit – die Dirigenten Nikša Bareza, Vjekoslav Šutej, Ivan XIV. Zu den Glanzlichtern seiner bisherigen Tätigkeit im Repušić, Tibor Boganyi, Marco Boemi, Philipp von Stei- Opernhaus gehören Aulis Sallinens Burg im Wasser, die naecker, Paolo Olmi, David Gimenez und Ville Matvejeff, Matvejeff beim Opernfestival von Savonlinna uraufführte, der 2014 zum ersten Gastdirigenten des RSO gewählt wurde. sowie die Aufführung des in Rijeka für Naxos aufgenom- Unter den Solisten, die mit dem Orchester musizier- menen Faust und des Nikola Šubić Zrinjski, der für cpo ten, finden sich so bekannte Persönlichkeiten wie die produziert wurde. Sängerin(innen) Sumi Jo, Maria Guleghina, Dunja Vejzović, Vor seinen heutigen Ämtern wirkte Ville Matvejeff an Elena Mosuc, Maida Hundeling, José Carreras, Yusif Eyva- den Opernhäusern von Malmö und Stockholm. Außerdem zov, José Cura, Carlo Colombara, Lucio Gallo, Giorgio Su- war er Assistent von Esa-Pekka Salonen, Leif Segerstam rian und Lars Cleveman sowie Instrumentalisten wie Maxim und anderen Dirigenten. Der vielseitige Musiker studierte an Fedotov, Stefan Milenkovich, Dan Zhu, Monika Leskovar, der Sibelius-Akademie in Helsinki und am Musikinstitut von Enrico Bronzi, Federico Colli, Michail Lifits, Aljoša Jurinić, Espoo. Mit achtzehn Jahren debütierte er als Pianist beim Goran Filipec, Martina Filjak, Boštjan Lipovšek, Gustav Ri- Symphonieorchester des finnischen Rundfunks unter der vinius, Michail Lifits und Petrit Çeku. In den letzten Jahren Leitung von Susanna Mälkki. Seither gibt er gemeinsam mit hat die Opernkompanie Rijeka mit ihrem Chor und Orches- der Sopranistin Karita Mattila Recitals in aller Welt. ter die Konzerte für Klavier und für Violine von Boris Pa- pandopulo (cpo), den Faust von Charles Gounod (Naxos) und Franz von Suppès Il ritorno del marinaio (cpo) sowie – mit dem Bariton Lucio Gallo – ein Album mit Arien von Giuseppe Verdis Macbeth, Otello und Falstaff aufgenom- men.

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cpo 555 335–2 Booklettestb.indd 17 19.05.2020 08:34:10 Robert Kolar (© Robert Kolar)

cpo 555 335–2 Booklettestb.indd 18 19.05.2020 08:34:10 Kristina Kolar (© Robert Kolar)

cpo 555 335–2 Booklettestb.indd 19 19.05.2020 08:34:10 Anamarija Knego (© Nina Đurđević)

cpo 555 335–2 Booklettestb.indd 20 19.05.2020 08:34:10 Aljaž Farasin (© Dražen Šokčević for CNT Ivan Zajc)

cpo 555 335–2 Booklettestb.indd 21 19.05.2020 08:34:10 Luka Ortar (© Marko Cokan)

cpo 555 335–2 Booklettestb.indd 22 19.05.2020 08:34:11 Only a few musicians have figured so prominently in key and let the little Ivan play the instrument when his father the cultural history of their nations and registered so many was not at home (Antonija Kassowitz-Cvijić). important achievements as Ivan noble Zajc, who was born By then the young Zajc’s path in life was set. Later the in Rijeka on 3 August 1832 and died in Zagreb on 16 De- highly talented young musician and composer was accepted cember 1914. (He also went by the first names of »Johann« to the Royal Conservatory in Milan, where he studied com- and »Giovanni« and by the last names of »Zajitz,« »Zaytc,« position and conducting for five years (1850–55). Although »Zaic,« and »von Zaytz.«) During the second half of the exhaustive research has been conducted on this point, it has nineteenth century he transformed the musical and cultural not yet been determined whether Stefano Ronchetti Monte- landscape of Zagreb and Croatia (which then belonged to the viti or Alberto Mazzuccato was his composition teacher at Austrian Empire and later formed part of the Austro-Hungar- the Milan Conservatory. In any event, Zajc received a superb ian Monarchy) with his multifaceted activity as a composer, musical education at this world-renowned academy, where conductor, organizer, and educator. Moreover, recent musi- his fellow students included Arrigo Boito and Amilcare Pon- cological research has convincingly shown that he also left chielli, both of whom would later become celebrated com- a clear mark on the history of the Viennese operetta and the posers. Antun Goglia transmits an interesting item of trivia general development of the Italian opera. He played a cen- (1932), reporting that during his studies Zajc lodged in the tral role in Zagreb’s music world and contributed generally same flat in the magnificent Galleria de Cristoforis in which and significantly to Croatian art music – a fact reflected in the young Giuseppe Verdi had formerly resided. the term typically applied by musicologists to this epoch of In the spring of 1855 the conservatory cadets presented Croatian music history: »the Zajc period.« several successful performances of Zajc’s »drama lirico« La This son of the Czech military bandmaster Ivan Zajc Tirolese, and even then the review pages in the Gazetta Mu- (1800–54) and his Bratislava-born wife Anna Bodensteiner sicale di Milano (6 May 1865) remarked on the young com- (1805–54) began his occupation with music during his boy- poser’s »exceptional natural talent« and »creative power.« hood. In 1830 his father Ivan Zajc (also: »Zagicz,« »Zaytz«) After he had completed his composition course with flying had moved from Bratislava to Rijeka, where he led the For- colors, though without a diploma, he was offered the oppor- ty-Fifth Infantry Regiment Band belonging to Baron Anton tunity, as Hubert Pettan writes, to work as a conductor at the Mayer von Heldenfeld, the Imperial and Royal General of renowned La Scala in Milan. However, he returned to Rijeka, the Artillery. The elder Zajc was a composer, conducted the where he assumed the duties of his recently deceased father, theater orchestra, and taught voice and stringed instruments serving as the orchestra’s conductor and section principal as at the Civico Istituto Filarmonico, as the music school then well as the stringed instrument teacher at the Civico Istituto was known. It is therefore not surprising that at the age of six Filarmonico. In addition, he worked as a choirmaster and his son performed on the violin in the Rijeka Theater, earning organist at the Collegiate Church. plaudits from the public and press alike. At the age of three In the city of his birth Zajc composed seventy-two he had received his first violin and piano lessons from his fa- works, the most important of which was the opera Amelia ther, but when the bandmaster saw how much his son was ab- ossia Il bandito. After a life-threatening bout of pneumonia sorbed in music, he locked the piano because he intended to in 1862, Zajc decided that it was time for a change of air have him study law. However, the boy’s mother had another and moved to Vienna, a city looking back on a long and rich 23

cpo 555 335–2 Booklettestb.indd 23 19.05.2020 08:34:11 musical tradition and at the time one of Europe’s most im- ensemble and the orchestra quickly rose from a very low dil- portant cultural centers. He initially taught at the Polyhymnia ettantism to a respectable professionalism. Already in 1873 institute of song and opera but soon made a name for himself operas by Giuseppe Verdi, Wolfgang Amadeus Mozart, Gio- as a composer of operettas. In 1863 Franz von Suppé, who acchino Rossini, and Charles Gounod were being performed had been born in Split and spent the first sixteen years of his in Zagreb, and 1877 witnessed the production of Giacomo life in Zadar, arranged to have Zajc’s operetta Mannschaft an Meyerbeer’s grand opera Les Huguenots. Bord! (Crew on Board!) performed at the famous Carlsthe- Zajc’s enormous appetite for work is clearly reflected in ater in Vienna. After the operetta’s successful performances his activity at the Croatian Music Institute, where he served Zajc also worked as a conductor at this theater, and in 1869 as the director, a voice and piano teacher, and the conductor he was also engaged at the renowned Theater an der Wien. of the school orchestra. (Moreover, until 1891 he was re- In Vienna Zajc composed a total of twenty-four oper- sponsible for the performance of the figural Masses at the ettas, twelve of which were performed and met with greater cathedral.) During these years he produced a truly large num- or lesser acclaim from audiences and music critics. Judging ber of works. The list of Zajc’s compositions (compiled by by contemporary press reviews, Fitzliputzli oder Die Teufel- Hubert Pettan) comprises 1,202 opus numbers and sixty-two chen der Ehe, Die Hexe von Boissy, Somnambule, and Der unnumbered compositions. However, the total number of his Meisterschuss von Pottenstein celebrated the greatest suc- compositions is actually smaller owing to certain inconsis- cesses. A good number of the operettas composed by Zajc tencies in nomenclature and numbering. Nevertheless, Zajc in Vienna were staged in theaters in Prague, Brünn/Brno, composed a total of twenty-seven operas (five of them un- Bratislava, Budapest, and Pilsen/Plzeň (to name only a few finished), thirty operettas, thirty music dramas, more then cities), while the operetta Der Raub der Sabinerinnen even five hundred choral compositions, two hundred solo songs, made its way to the stage in Berlin. The Viennese publish- a hundred compositions for orchestra, and a large number ers Carl Haslinger and Carl Anton Spina published some of of piano miniatures. In the field of church music Zajc also Zajc’s compositions (mainly dances, potpourris, and fanta- bequeathed important works to posterity, including fifteen sies derived from his most popular operettas), while some orchestral masses, four requiems, and religious songs, gradu- well-known Viennese composers like Eduard Strauß, Carl als, offertories, and hymns. His works composed for didactic Michael Ziehrer, and Alexander Leitermayer »arranged purposes were the product of his teaching activity with his some numbers from his works or found sources of inspira- pupils, most of whom were singers. Some of them, like Josip tion in their themes for their own works« (Vjera Katalinić). Kašman (Giuseppe Kaschmann), Draga Hauptfeld, and Sofia The successes of the composer Ivan von Zajc in Vienna Kramberger, would sing in renowned opera houses in Europe also had an impact in his native Croatia, where his choral and throughout the world. compositions were often performed. In 1869 he was invited During his lifetime Zajc was much appreciated and cel- to return to Zagreb and to direct the local opera, an offer that ebrated in his native Croatia, where numerous events were he warmly accepted. In 1870 he established and systematized held in his honor and his works were regularly performed. the opera ensemble, developing an opera repertoire and see- Today a few of his operas and symphonic compositions con- ing to the training of the professional musicians within a tinue to form part of the standard repertoire, but his oeuvre as very short time. Under his leadership as its conductor, the a whole has only been partially reexamined. The reason for 24

cpo 555 335–2 Booklettestb.indd 24 19.05.2020 08:34:11 this is to be sought primarily in the publication history of his Theodor Körner (1791–1813). Körner’s drama goes back to works: only his choral works, songs, and piano compositions a historical event, the famous Battle of Szigeth in 1566. For (usually ones of smaller scope) were published while he was a full month, during his last march on Vienna, Suleiman the alive. With the exception of the opera Nikola Šubić Zrinski, Magnificent, the commander of the Ottoman army, besieged hardly any of his works for music theater or orchestra have the Szigeth Fortress in today’s southern Hungary. The 2,500 been published in score form. defenders in the military units stationed there, for the most Of Zajc’s immense oeuvre, his operas are of particular part Croatians but also some Hungarians, were under the interest and artistic value; here we should mention Lizinka, command of the statesman and general Nikola Šubić Zrins- Mislav, Ban Leget, Die Hexe von Boissy, Oče naš (Our Fa- ki. They inflicted heavy losses on the Turkish army of almost ther), Die erste Sünde, and I Minatori (La dea della mon- 100,000 men, thereby stopping the Turkish advance toward tagna). Many of them bear indisputable traces of the Italian Vienna. During the heroic battle almost all the Szigeth garri- opera of the first half and middle of the nineteenth century. son forces perished, while the Ottomans lost almost 30,000 This is not surprising since Zajc spent his formative years in soldiers. According to historical sources, only four survivors Rijeka, where geographical and historical factors meant that of the battle, including Ferenac Črnko, Nikola Šubić Zrins- Italian influences were very strong, and later studied music ki’s secretary and chamberlain, were subsequently ransomed in Milan. Zajc wrote some of his operas to Italian texts, and from the Ottomans. In his chronicle of the Battle of Szigeth, commentators have noticed strong influence from Verdi’s The Siege and Capture of Szigeth, Črnko provided a detailed musical idiom, a composer for whom he openly expressed account of the course of the siege, the actual battle, and its his admiration and verged on imitating. bloody outcome. The Croatian original was translated into The influence of the music of another environment Latin in 1568 and published in Vienna under the title of His- where Zajc lived for many years – that of Vienna and in par- toria Szigethi. Črnko’s gripping eyewitness testimony would ticular of the Viennese operetta – of course also left traces on serve as the basis of many other accounts of the siege of his operas. Slavic elements (and Czech ones in particular) Szigeth. One of the most important of them was a Hungarian are noticeable in some melodic and rhythmic elements in the version penned by Count Nikola Zrinski (Miklós Zrínyi), operas that he composed after his return to Zagreb. These Nikola Šubić Zrinski’s great-grandson and namesake. It elements might be understood as an aspiration to discover was published as Az Adriai tengernek syrenaia in 1651, and some native musical expression founded on Croatian folk Nikola’s brother Petar translated it into Croatian under the music and to do so within the framework of the Pan-Slavic title of Adrijanskog mora sirena (Siren of the Adriatic Sea). ideas current in the political thought of those times. Some Nikola Šubić Zrinski, whom Croatians as well as Hun- of Zajc’s compositions would endure, while others have yet garians claim as their countryman, was born in Zrin, a for- to find a place in the standard concert repertoire, but what tress town in today’s southern Croatia, and was the ban or is certain about his oeuvre, along with his great mastery of governor of Croatia-Slavonia-Dalmatia. Remarkably, this his métier, is his almost divinely inspired melodic invention. personality from the annals of Croatian and Hungarian The Croatian author Hugo Badalić (1851–1900) wrote history entered the libretto of an opera by way of German the libretto for the opera Nikola Šubić Zrinski on the basis of literature and through the literary offices of Theodor Körner, the drama Zriny (1812) by the German poet and playwright who collected and studied the sources with great diligence 25

cpo 555 335–2 Booklettestb.indd 25 19.05.2020 08:34:11 prior to writing his drama. His Zriny was performed on the nothing but excerpts from the most important moments of stage of the Croatian National Theater in Zagreb in German Körner’s tragedy, i.e., of its skeleton, with very few of his in 1832 and in a Croatian translation in 1841. Here it is also own compositional thoughts, transferred word for word from interesting to note that in 1834 the play was performed in the original (both in the verses and in the director’s construc- Zagreb as a patriotic drama (»vaterländisches Drama«) and tion«) (Milan Ogrizović). Literary critics are in agreement not as a tragedy (»Trauerspiel«), the genre assigned to the that Badalić wrote a very good libretto in compositional re- original. The Napoleonic Wars of the early nineteenth cen- spects; the events are logical and justifiable, and from the lit- tury had shaken Germany to its foundations (Körner himself erary side no well-founded objections might be raised either died a heroic death on 26 August 1813 as a volunteer in one about the composition or the verses (in the spirit of those of the last campaigns against the Corsican), and the subse- times, of course). The formal structure of Körner’s original quent growth of national consciousness certainly motivated is reflected in the structure of Badalić’s libretto. Badalić re- writers to deal with heroic and patriotic themes. The Battle duced the five acts of Körner’s drama, each of which consists of Szigeth was an exemplary precedent, a model example of of nine to eleven scenes, to three acts: Act I: twelve scenes the greatest patriotism, and a historical instance of ultimate and twelve numbers; Act II: eight scenes with thirteen num- sacrifice for one’s native country. Over the years it practi- bers, four of which are dances; Act III: twelve scenes and the cally assumed mythic dimensions. Körner’s heroes possess Catastrophe/Apotheosis. This formal disposition, given the practically fanatical character traits and are ready and willing shortness of the numbers, resulted in a certain fragmentation to die for freedom, honor, faith, and fatherland. Therefore in of dramatic time and flow, so that even though Zajc’s work the Croatia of the second half of the nineteenth century, when belongs to the genre of historical opera like Meyerbeer’s Les the fight for national independence was in full swing and pa- Huguenots, it never achieves that work’s monumentality, ei- triotic enthusiasm reached new heights, it was not surprising ther scenically or musically. that the theme of the literary original of the Zrinski libretto In genre and form the opera Nikola Šubić Zrinski, subti- evoked a strong response when the opera was premiered in tled »A Musical Tragedy in Three Acts,« is a classical opera Zagreb on 4 November 1876. The work itself, because of its with musical numbers of the Rossini type of opera seria as subject matter, was regarded as a model example of a na- established in Italy during the first half of the nineteenth cen- tional opera and developed an aura that it has retained right tury. It is regarded as a historical, heroic, and national opera through to the present day. primarily because of the theme and content of the libretto What immediately stands out when we compare the and secondarily because of the abundance of choral num- libretto of Nikola Šubić Zrinski with its source, Körner’s bers. A third of the opera’s thirty-two numbers are assigned drama Zriny, is the significant difference in length. Badalić to the choir, not counting the twenty shorter or longer choral condensed Körner’s three thousand verses into some one responses and commentaries. Here elements characteristic of thousand verses. Some of Badalić’s sentences are literal military music, mainly in the form of the march, frequent- translations of the German, but he wrote a large number of ly occur, and the connection between opera and nation is his own, creating simpler, shorter, and sometimes symmet- emphasized – a typical feature of the national opera genre. rical verses functioning solely as suitable models for setting However, in Nikola Šubić Zrinski the tragic Zrinski family to music or arranging. »The whole of this libretto consists of drama and the moving love story of his daughter Jelena and 26

cpo 555 335–2 Booklettestb.indd 26 19.05.2020 08:34:11 the officer Juranić play an important role, even though these dramaturgical contrast and to differentiate between the two subplots do not form the central focus, which of course is worlds juxtaposed in the opera, those of the Turks and the on the epic clash of arms. It is especially in the duets and Croatians.« However, it should also be noted that Zajc, while arias of Act III that Zajc displays all the sumptuousness of availing himself of some Croatian folk songs (e.g., »The his lyrical artistry and his melodramatic talent and creates Magpie Has a Long Tail« in Jelena’s dream) and the »Slavic impressive contrasts to the heroic parts of the work. As a weaving melody,« did what he could to bring out the differ- result, momentarily transcending the confusion of war and ence between these two worlds. If he did not quite succeed the disturbing din of weapons, Zajc generates oases of idyllic in doing so, then one reason was because the process of col- and elegiac atmosphere in his music (supported of course lecting folk songs in Croatia was as yet in its nascent stages. by his librettist) in what are suggestive and dramaturgically Döhring also criticizes the design of the opera’s crowd well-rounded units. Accordingly, the personal tragedies and scenes, stating that in the formal disposition of these scenes fates of the individual persons of the drama stand in power- Zajc fails to meet the demands of the genre of the historical ful contrast and opposition to the crowd scenes in which the or grand opera. In its structure the work is founded on short ensembles assume the role of a vox populi and function as the formal units mainly of march or song character. Here, how- exponents of collective identity. ever, we have to take into consideration the givens of the li- The opera as a whole contains a number of melodious bretto, in which formal fragmentation is a consequence of the arias and refined orchestral effects (the chamber sonority of formal disposition of the Körner original. It certainly should the lyrical scenes and the tutti sound of the dramatic scenes). also be emphasized that the Zagreb cultural environment of »The listener is fascinated by the originality of the sound those times, as far as the level of musical culture, the public’s and the inspired musical dramaturgy, for which a model is listening experience, and the opera house’s very modest stag- difficult to find in the Italian opera production of the time.« ing and technical resources were concerned, could not match What stands out in particular is the »recitative, which has those of more advanced European performance venues – and surmounted its formal opposition to the aria and entered into the same must be said of the professional level of the musi- a solid dramaturgical union with it, something that was com- cians and the size of the orchestra. Zajc could not achieve pletely unattainable for Zajc’s contemporaries, in particular – nor did he attempt to achieve – the formal or psychological the Italians among them« (Mladen Tarbuk). monumentality and stage effects of the grand opera of the Nevertheless, it has to be conceded that the musical Meyerbeer type. The ballet numbers from the beginning of idiom of Nikola Šubić Zrinski offers nothing new in the Act II of the opera (which regrettably could not be included way of harmony or compositional technique when viewed on this recording) were the first ballet numbers in the history in relation to the operatic practice of the times. Even so, of the Croatian National Theater, have their own value in the the material synthesis formed by elements from the Italian study of culture, and occupy a special place in the history opera, Viennese operetta, and Slavic music »forged in the of Croatian ballet inasmuch as they mark the birth of the fiery furnace« of Zajc’s inspiration lend the work an entire- Croatian National Theater Ballet Ensemble. ly original stamp. In Opera und Musikdrama im 19. Jahr- Nikola Šubić Zrinski occupies a very special place in the hundert Sieghart Döhring laments the fact that Zajc did not Croatian opera literature; it is the most performed opera in succeed in developing the »musical means to bring out the the history of the Croatian National Theater in Zagreb, and

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cpo 555 335–2 Booklettestb.indd 27 19.05.2020 08:34:11 next to Jakov Gotovac’s Ero the Joker it has been performed Act II more frequently in Croatian and international opera hous- (Two Tableaux, Eight Scenes) es than any other opera by a Croatian composer. Its pithy The Ottomans, encamped outside Szigeth, celebrate and catchy melodies and choral pieces of archaic rigor and the anniversary of their victory at the Battle of Mohács, vigor, with the choral piece U boj! U boj! (To Battle! To as recounted by Timoleon. Suleiman sends Mehmed Pasha Battle!) composed by Zajc already in 1866 meriting special to Zrinski, ordering him to do whatever it takes, threats or mention here, also made Nikola Šubić Zrinski known beyond bribes, to secure Szigeth’s surrender. Since Zrinski knows Croatia’s borders. We might add as a curiosity that Zrinski that the walls will not withstand a Turkish assault, he orders is known even as far away as Japan because of its theme everybody to retreat to the old city center (Szigetvár) and has of self-sacrifice for the fatherland similar to the ethical and the new city put to the torch. He bids farewell to the city in a personal life codes of the Samurai, who in feudal times were romance (»Farewell, you quiet halls, with you shall Zrinski ready to lay down their lives for honor and the emperor. For fall!«) that also portends his own demise. Mehmed Pasha this reason the choral piece U boj! U boj! forms part of the enters and communicates Suleiman’s terms to Zrinski, who standard repertoire of a number of male choral societies, contemptuously refuses to accept them and indicates to him some of which have chosen it as their anthem. that flames are consuming the city.

Synopsis of the Opera Act III (Three Tableaux, Twelve Scenes, and the Catastrophe/ Overture, Act I Apotheosis) (Three Tableaux, Twelve Scenes) Suleiman lies dying in his tent, but Mehmed plans to Sultan Suleiman the Magnificent sets out on a campaign conceal this from the army and then to return to Istanbul with the capture of Vienna as his objective. Along the way he after the battle. In the subterranean vault Jelena sings her will have to subdue the Szigeth Fortress in Hungary, where mother’s lullaby and falls asleep; in her dream she sees the a small garrison of Croatian and Hungarian forces com- fairies celebrating her nuptials with Juranić. She is startled manded by the famed Croatian general and governor Nikola out of her sleep when Juranić enters and brings the terrifying Šubić Zrinski is stationed. Intelligence reports of the army’s news. Jelena says that she would rather die by his sword than advance reach Szigeth, and the garrison troops prepare to fall into the hands of the Ottomans. After a brief farewell he defend the fortress. The officer Lovro Juranić has asked for stabs her. Zrinski and Eva exchange farewells prior to the permission to marry Jelena, the governor’s daughter. Zrinski final battle, which is followed by Zrinski’s last orders and his grants his consent and promises that the marriage will take farewell to his soldiers and officers with one last shout and place after the successful conclusion of the battle. He ap- the chorus U boj! (To Battle!). The apotheosis is a tableau points Gašpar Alapić his second-in-command and joins the vivant representing the march from the blazing city and the whole garrison in pledging to defend Szigeth to his last drop slaughter on the battlefield. With this the opera reaches its of blood. conclusion.

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cpo 555 335–2 Booklettestb.indd 28 19.05.2020 08:34:11 ROBERT KOLAR Tosca (Tosca), Manon Lescaut (Manon Lescaut), Ciesca (Gianni Schicchi), Carmen (Carmen), Laura (La Gioconda), Baritone, soloist of the CNT Ivan pl. Zajc Opera. Next to Donna Elvira (Don Giovanni), Dorabella (Così fan tutte), his opera roles, he also performs at concerts, singing in pro- Marianna (Il signor Bruschino), Principessa (Adrianna Le- ductions of chamber works, masses and requiems, of authors couvreur), Eva (Nikola Šubić Zrinjski) and numerous others. ranging from the Baroque period to the composers of our The latter opera was recorded by the German label cpo. century. He has collaborated with eminent Croatian and for- Over the past few years she has been a regular guest singer in eign conductors. Robert has recorded two albums, Sakralna opera productions abroad (Japan, Finland, Germany, Czech glazba rijeckih skladatelja (Sacred Music by Rijeka Com- Republic, Hungary, Italy, Slovenia). posers) and Hrvatska solo popijevka (Croatian Solo Folk In addition to the her work in opera, she is performing Song). He has more than thirty opera roles in his repertoire, a diverse concert repertoire of the works by composers such among which he underlines: Nabucco, Rigoletto and Ford in as Verdi, Pergolesi, Mozart, Beethoven, Haydn, Ristori, Ros- Falstaff; Figaro in Il Barbiere di Siviglia; Belcore in L’elisir sini, Mahler and others. She has received a great number of d’amore and Lord Enrico Ashton in Lucia di Lammermoor; prestigious awards for her exceptional creations. Gerard in Andrea Chénier; Sharpless in Madama Butterfly and Onegin (at the Sarajevo NT, Zagreb CNT and Ivan pl. ANAMARIJA KNEGO Zajc CNT) in Eugene Onegin. Robert has sung in a num- ber of operas by Zajc, such as Vasilij in Lizinka, Corrado in She studied at the Music Academy in Zagreb where Amelija, Marko in Momci na brod, Pero in Zlatka and Levi she graduated solo singing in 2006. She appeared in nume- in Nikola Šubić Zrinjski. rous memorable roles, such as Miss Jessel (The Turn of the Screw), Tatiana (Evgenij Onjegin), Micaëla (Carmen), Cleo- KRISTINA KOLAR patra (Giulio Cesare), Sophie (Werther), Desdemona (Otel- lo), Alice (Falstaff), Mimì (La Bohème), Juliette (Romeo She studied opera singing at the Music Academy in Za- et Juliette), Susanna (Le nozze di Figaro), CIO-CIO-San greb and continued her education at the Accademia Lirica (Madama Butterfly), Jelena (Nikola Šubić Zrinjski). The lat- del Rotary International in Milan, in the class of conductor ter was recorded by the German label cpo. Giuseppe Montanari, who was then the artistic director of She also sang the role of Tatiana, in the opera Evgenij Teatro alla Scala. Onjegin, in Krakow, with Mariusz Kwiecień, one of today’s Since 1996 she is a member of the ensemble of the Opera leading baritones, who played the role of Onjegin. at CNT Ivan pl. Zajc in Rijeka as the principal soloist, and She successfully presented herself in the role of Desde- since 2019 she also has the title of National principal soloist. mona in Otello (the opera was awarded with the Croatian As a soloist, she has performed in Croatia and around Theatre Award) to the audience in Zagreb and was praised by the world in over 50 roles, at first as a mezzo, and then as the critics. She has received a number of prestigious awards, a soprano, such as Aida (Aida), Lady Macbeth (Macbeth), such as the Croatian Theatre Award for the role of Miss Jessel Abigaille i Fenena (Nabucco), Preziosilla (La forza del desti- in Benjamin Britten’s Turn of the Screw and many others. no), Meg (Falstaff), Maddalena di Coigny (Andrea Chénier), 29

cpo 555 335–2 Booklettestb.indd 29 19.05.2020 08:34:11 ALJAŽ FARASIN LUKA ORTAR

He began his career as a soloist in 2009 and since then Bass-baritone started his music career by playing the he appeared in numerous performances of tenor roles: Don trumpet. In November 2012 he went on a one-month Euro- José (Carmen), Duca di Mantova (Rigoletto), Alfredo (Tra- pean tour with Anna Netrebko, the Slovene Chamber Choir viata), Ismaele (Nabucco), Macduff (Macbeth), Rodolfo and the Slovene Philharmonic Orchestra in Tchaikovsky’s (La Bohème), Pinkerton (Madama Butterfly), Boris (Katya Iolanta. Some of his notable roles include King of Egypt Kabanova), Naraboth (Salome), Jaquino (Fidelio), Da- (Aida), Colline (La Bohème), Montano (Otello), Avenant (La land’s steersman (Der fliegende Hölander), Sempronio (Der Belle et la Bête), Sulejman (Nikola Šubić Zrinjski), Figaro Apotheker), Lenski (Eugene Onegin), Werther (Werther), (Le nozze di Figaro) and others. He participated in numer- Fenton (Falstaff), Romeo (Romeo et Juliette), Godefroy de ous seminars and competitions, perfecting and developing Vaudemont (Iolanta), Tamino (Die Zauberflöte), Don Otta- his performance. vio (Don Giovanni), Nemorino (L´elisir d´amore), Rinnucio (Gianni Schicchi), Camille (The Merry Widow), Alfred (Die DARIO BERCICH Fledermaus), Ecclitico (Il Mondo della Luna) and title role in Gounod’s Faust, recorded for Naxos, alongside Carlo Co- Bass-baritone, soloist of the Rijeka CNT Ivan pl. Zajc lombara, Lucio Gallo, Marjukka Tepponen, Diana Haller, Opera, graduated from the Milan Conservatorio di Musica Waltteri Torikka, and Ville Matvejeff conducting. With the Giuseppe Verdi in the class of professors A. Bonay and C. Rijeka Opera Company he also recorded von Suppe’s Il Ri- A. V. Terranova. torno del Marinaio (the role of Niccolo). He has appeared in more than thirty-five opera roles, As Don José in Bizet’s Carmen he was on tours in Bel- four roles in operettas and musicals, also in numerous con- gium, Netherlands and in Japan. certs, as well as in drama productions. Among his roles in His concert repertoire is rich as well and it includes, opera productions, Dario underlines: Figaro (Le nozze di among others, Verdi’s Messa da Requiem as well as Mo- Figaro), Saretsky and Hauptmann (Eugene Onegin), Esca- zart’s Requiem. millo (Carmen), Messenger (Oedipus Rex), Manuel (La vida Besides the mentioned collaborations with distinguished breve), Pietro Fléville (Andrea Chénier), Mamma Agata (Le conductors and soloists, he also performed at concerts and convenienze ed inconvenienze teatrali), Conte di Monterone in various productions with Sumi Jo, Veronika Dzihoeva, (Rigoletto), Masetto (Don Giovanni), Albert (Werther), Maida Hundeling, Veselina Kasarova, Tibor Bogany, Loris Montano (Otello), Bartolo (Il Barbiere di Siviglia), Narra- Voltolini, Nikša Bareza, Jan Latham-Koenig, Jaroslav Ky- tor (Klothó by Martyna Kosecka), Schaunard (La Bohème), zlink, Ricardo Casero, Alberto Martinolli, Stephano Pellegri- Banco (Macbeth), Pistola (Falstaff), Levi (Nikola Šubić no, Uroš Lajovic, Marko Letonja, Daniel Lipton, Alexandar Zrinjski) and others. Marković, Yordan Kamdzhalov, Marc Tardue and others.

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cpo 555 335–2 Booklettestb.indd 30 19.05.2020 08:34:11 OPERA COMPANY OF THE RIJEKA SYMPHONY ORCHESTRA (RSO) CROATIAN NATIONAL THEATRE IVAN PL. ZAJC RIJEKA The Rijeka Symphony Orchestra is dedicated to an opera and ballet repertoire, as well as to a diverse program of sym- The city of Rijeka has a tradition of continuous opera phonic concerts. Throughout its history, many distingushed theater spanning more than two centuries. Maestro Gaetano Croatian and international conductors have collaborated Cimini conducted Verdi’s Aida, previously never performed with the Orchestra of the Croatian National Theatre in Ri- in Rijeka, for the historic opening day of the new Teatro jeka (renamed to the Rijeka Symphony Orchestra in 2020, Comunale building on October 3, 1885. The performance the year of Rijeka – European Capital of Culture). The list featured famous names – Medea Borelli, Clotilde Sartori includes Boris Papandopulo, Lovro von Matačić, Ivo Malec, and Mary Guttenberg. In the subsequent years, numerous Vladimir Benić and, more recently, Nikša Bareza, Vje- renowned opera artists made guest appearances in Rijeka. koslav Šutej, Ivan Repušić, Tibor Boganyi, Marco Boemi, Among these were Giacomo Puccini (1895) and Pietro Philipp von Steinaecker, Paolo Olmi, David Gimenez, and Mascagni (1924) themselves, Enrico Caruso in 1898, Beni- Ville Matvejeff – the RSO’s principal guest conductor since amino Gigli in 1941 and Zinka Milanov in 1948 and 1950. 2014. Among the soloists that performed with the Orchest- The current Opera Company was established on January 4, ra, one can find prominent artists such as the singers Sumi 1946, and currently consists of the Rijeka Symphony Or- Jo, Maria Guleghina, Dunja Vejzović, Elena Mosuc, Maida chestra, the Rijeka Opera Choir and an ensemble of vocal Hundeling, José Carreras, Yusif Eyvazov, José Cura, Carlo soloists. The Rijeka Opera is one of the four companies of Colombara, Lucio Gallo, Giorgio Surian, Lars Cleveman, the Croatian National Theatre in Rijeka, named after Ivan and instrumentalists such as Maxim Fedotov, Stefan Milen- Zajc himself. Moreover, in 1946, the Opera Company was kovich, Dan Zhu, Monika Leskovar, Enrico Bronzi, Federico in fact inaugurated with a performance of Nikola Šubić Colli, Michail Lifits, Aljoša Jurinić, Goran Filipec, Martina Zrinjski by Ivan Zajc, conducted by Boris Papandopulo, Filjak, Boštjan Lipovšek, Gustav Rivinius, Michail Lifits, one of the leading Croatian composers of the twentieth Petrit Çeku and others. Recently recorded projects of the century and the Company’s artistic director at the time. Rijeka Opera Company, its Orchestra and Choir include B. Over the past five years, the Rijeka Opera has notably expan- Papandopulo’s Piano concerto and Violin concerto (cpo), ded its repertoire and produced diverse titles ranging from Gounod’s Faust (Naxos), Franz Von Suppè’s Il ritorno del Handel’s Giulio Cesare in Egitto to Purcell’s Dido and Aene- marinaio (cpo), Verdi arias from Macbeth, Otello and Fals- as, Mozart’s Don Giovanni and Le Nozze di Figaro, Bellini’s taff with Lucio Gallo. Norma and Donizetti’s Le convenienze ed inconvenienze te- atrali, Verdi’s Macbeth, Otello and Falstaff, Wagner’s Tris- tan und Isolde, Massenet’s Werther and Gounod’s Romeo et Juliette, Puccini’s Madama Butterfly, La Boheme and Tosca, Giordano’s Andrea Chenier, all the way to Strauss’s Elektra, Szymanowsky’s Krol Roger and Stravinski’s Oedipus Rex.

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cpo 555 335–2 Booklettestb.indd 31 19.05.2020 08:34:11 VILLE MATVEJEFF

Ville Matvejeff has already established himself as an exceptionally wide-ranging musician enjoying success as conductor, composer and pianist. He holds the positions of Chief Conductor of Jyväskylä Sinfonia, Artistic Director of the Turku Music Festival and Principal Guest Conductor of the Croatian National Theatre Ivan pl. Zajc. Recent orches- tral debuts include the Duisburg Philharmonic, Estonian Na- tional Symphony, Lahti Symphony and Sønderjylland Sym- phony Orchestras. Matvejeff conducts a diversity of opera repertoire ranging from Mozart’s Le Nozze di Figaro and Aribert Reimann’s Lear to contemporary productions such as Kimmo Hakola’s Akseli with Jorma Hynninen in the title role, and Mikko Heiniö’s Eerik XIV. His opera highlights include the world premiere of Aulis Sallinen’s Castle in the Water at the Savonlinna Opera Festival and performances in Rijeka of Faust, recorded for Naxos and the opera Nikola Šubić Zrinjski, recorded for the German label cpo. Matve- jeff has previously held positions at the Malmö Opera and the Royal Swedish Opera in Stockholm, as well as working as assistant with conductors such as Esa-Pekka Salonen and Leif Segerstam. A musical polymath, Matvejeff trained at the Sibelius Academy and Espoo Music Institute. He made his concert debut as pianist at the age of 18 with the Finnish Radio Symphony Orchestra under conductor Susanna Mälk- ki and has since toured the world in a recital partnership with soprano Karita Mattila.

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cpo 555 335–2 Booklettestb.indd 32 19.05.2020 08:34:11 Kristina Kolar, Anamarija Knego, Robert Kolar (© Dražen Šokčević for CNT Ivan Zajc)

cpo 555 335–2 Booklettestb.indd 33 19.05.2020 08:34:11 Aljaž Farasin, Anamarija Knego (© Dražen Šokčević for CNT Ivan Zajc)

cpo 555 335–2 Booklettestb.indd 34 19.05.2020 08:34:11 Aljaž Farasin, Anamarija Knego (© Dražen Šokčević for CNT Ivan Zajc)

cpo 555 335–2 Booklettestb.indd 35 19.05.2020 08:34:12 Luka Ortar (© Dražen Šokčević for CNT Ivan Zajc)

cpo 555 335–2 Booklettestb.indd 36 19.05.2020 08:34:12 Giorgio Christian Surian, Dario Bercich (© Dražen Šokčević for CNT Ivan Zajc)

cpo 555 335–2 Booklettestb.indd 37 19.05.2020 08:34:12 Aljaž Farasin, Anamarija Knego, Robert Kolar, Kristina Kolar, Marijan Padavić i zbor Opere (© Dražen Šokčević for CNT Ivan Zajc)

cpo 555 335–2 Booklettestb.indd 38 19.05.2020 08:34:12 Aljaž Farasin, Kristina Kolar, Robert Kolar (© Dražen Šokčević for CNT Ivan Zajc)

cpo 555 335–2 Booklettestb.indd 39 19.05.2020 08:34:12 Giorgio Christian Surian, Luka Ortar (© Dražen Šokčević for CNT Ivan Zajc)

cpo 555 335–2 Booklettestb.indd 40 19.05.2020 08:34:12 Anamarija Knego, Kristina Kolar (© Dražen Šokčević for CNT Ivan Zajc)

cpo 555 335–2 Booklettestb.indd 41 19.05.2020 08:34:12 CD 1 CD 1

PRVI ČIN Act I

[1] Uvertira [1] Overture

I. SLIKA SEQUENCE I

Prizor prvi Scene I (Sultanova palača u Beogradu. U svojoj sobi Sulejman (The Sultan’s palace in Belgrade. Suleiman sits in his room, sjedi zamišljen. Dolazi Levi.) deep in thought. Levi comes in.)

[2] Levi. [2] Levi. Poručio si po me, You summoned me, O silni padišah; O mighty Padishah; Po glasu eto tvome Obeying your order, Tvoj smjerni rob ti dođe mah. Your humble slave has come. (za se): (to himself): Još vazda šuti. He won’t answer. (glasno): (loudly): Care, gospodaru! My Lord Emperor! Na slugu se ne ljuti, Have mercy on your servant, Koj‘ pozna bol ti staru. Who knows your old illness. Ti sjediš žalostan, You look sad, O, jesi l‘ bolestan? Oh, are you sick?

Sulejman. Suleiman. Šuti, šuti! Starost ova Silence! My old age Nikad mene ne okova! Has never shackled me!

Levi. Levi. Oprosti, silni care! - Forgive me, Lord! Još oko krepko sjaji, Your eyes shine brightly still, A dušu silnu žare Your mighty soul Prošastih dana događaji, Glows with past events, Budućnost krasnu kažuć. Foreseeing a splendid future. 42

cpo 555 335–2 Booklettestb.indd 42 19.05.2020 08:34:12 Sulejman. Suleiman. Kaži, Levi, iskren budi: Tell me, Levi, be honest: Kol‘ko još ljeta nudi How many years do I have left? Znanost meni tvoja? What does your science say?

Levi. Levi. To samo Alah zna! Only Allah knows!

Sulejman. Suleiman. Ha, ha, ha! Ti ne znaš ništa! Ha, ha, ha! You know nothing! Ili ne znaš, il‘ se bojiš, Either that, or you are afraid. Šta si stao, k‘o da brojiš, Why so quiet? Are you counting Čase, dane moje smrti? Days and hours till my death? Reci sad, kol‘ko ljeta Tell me how many years Još mi uživat toga svijeta, I have left on this earth! Reci, mogu l‘ svijet još strti? Tell me, will I trample the world? Reci! Reci! Speak up!

Levi. Levi. Kol‘ko sudim ja, By my reckoning, Još deset - Another ten –

Sulejman. Suleiman. Deset veliš? Deset? Ten, you say? Ten?

Levi. Levi. Da, možni care moj, Yes, Lord Emperor, Još deset! Ali dalje čuj! Another ten! But hear me! Mirovat valja tebi, You must rest, Uživat mirno slave. Quietly bask in your glory. Inače mog‘o ne bi Otherwise you risk Sačuvat vrijedne glave! Losing your precious head! Već četrdeset ljeta slavnih For forty glorious years Po svijetu tvoj se ori glas. Your fame has spread around the world. O care, sad je doš‘o čas O Emperor, now is the time Počinku, miru tvomu! For repose and peace! 43

cpo 555 335–2 Booklettestb.indd 43 19.05.2020 08:34:12 Sulejman. Suleiman. Pokoj, mir i ljeta deset Repose, peace, and ten years Nuđaš meni, slugo vjerni! Is what you offer me, faithful servant! Mir mi veliš, pokoj? Je li tako, Levi? Peace, you say? Repose? Is that so, Levi? Šta će meni ljeta duga, What is the use of long years Da proživim kano crv; If I live them as a worm? Da mi srdcem vlada tuga, If sorrow rules my heart, Žilam‘ da se stine krv! If blood curdles in my veins?

Jedno mi je dosta samo, Just one will be enough, Al‘ ću radit dan i noć! But I will work day and night! Pa kad i ja dođem tamo, (pokazuje rukom na dženet). So once I get there, (pointing at heaven) Slava moja neće proć! My glory will not fade away!

Levi. Levi. Polako, care moj, polako! Settle down, my lord! Ah, care moj! Oh, my Lord Emperor!

Sulejman. Suleiman. Starče, šuti! Niti riječi! Quiet, old man! Not a word! Jošte živi stari lav! The old lion still lives! [3] Idi brzo, neka dođe k meni [3] Quick, go fetch my vizier, Vezir moj, – nek‘ brzo dođe! Let him come with haste!

Prizor drugi Scene II

[4] Sulejman (sam). [4] Suleiman (alone). Čudno li krvca mi vrije, Strange how my blood boils, Rata mi srce žudi, My heart desires war, Silnije, jače mi bije, Beating ever stronger, Nadimlje jake grudi. Swelling in my sturdy chest. Ah! Sad u boj! Neka svijet Ah! To battle now! Let the world Pred mojim drhće jarom. Shake before my rage. Sad u boj, sve će mrijet To battle now! All will die Pred sviju carâ carom! Before the Emperor of Emperors! 44

cpo 555 335–2 Booklettestb.indd 44 19.05.2020 08:34:12 Strepi, o Beču, ti prvi, Tremble, Vienna, you’re the first, Prvi je udarac tvoj! You’ll be hit by the first strike! Tebe kad padišah smrvi, Once the Padishah shatters you, Lagan je s drugimi boj. The rest will be easy to defeat. Diž‘te se, junaci, diž‘te, Get up, heroes, get up, Vaš vam nek‘ pomogne Bog! Let your God help you!

Prizor treći Scene III Sulejman i Mehmed Sokolović, veliki vezir. Suleiman and Sokollu Mehmed, Grand Vizier.

[5] Mehmed. [5] Mehmed. Smjerno čekam tvoje zapovijedi, I humbly await orders, Možni care! Mighty Emperor!

Sulejman. Suleiman. Na vojnu! Na vojnu! To war! To war! Nemam časa da potratim, I have no time to lose, Kratak mi je vijek. I am nearing my end. Slavom hoću da pozlatim I want golden glory to fill Sad zadnji žića tijek! What life I have left! Na vojnu! Je l‘ vojska spremna? To war! Is the army ready?

Mehmed. Mehmed. Sve u redu! All in order!

Sulejman. Suleiman. Namah teci, Go right now, Hitro reci: Tell them quickly: „Zapovijeda car, „Emperor’s orders: Neka vojska sva The whole army Bude gotova Must be ready to march Danas jošte poć na vraga!“ Against the devil today!“

Mehmed. Mehmed. Tako brzo zar? So fast?

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cpo 555 335–2 Booklettestb.indd 45 19.05.2020 08:34:12 Sulejman. Suleiman. Tako hoću! Preko praga It is my will! Ungarije ravne Across the Hungarian plain Na Beč gredem, I will march on Vienna. Da od želje davne Long have I desired I taj bedem To crush, raze, burn Srušim, satrem, spalim. Even that rampart.

Mehmed. Mehmed. Mis‘o tvoju hvalim! I praise your plans! Silan ti jesi, care velji, You are mighty, Great Emperor, Stavna volja tvoja. Your will is strong. Zapreke nema tvojoj želji, Your desire has no obstacles, Vojska žudi boja. The army yearns to fight. Dvjesta je tisuć‘ vojske čile Two hundred thousand fit soldiers Spravno poći s tobom. Are ready to go with you. Tko da ne strepi s takve sile? Who would not tremble before them? Sav svijet bit će ti robom! All the world will be your slave!

Sulejman. Suleiman. Gdje su vođe ini? Where are the other captains?

Mehmed. Mehmed. Vani stoje. Standing outside.

Sulejman. Suleiman. Tko sve? Who exactly?

Mehmed. Mehmed. Mustafa od Bosne paša, Mustafa Pasha of Bosnia, Ali Portuk Ibrahim, Ali Portuk Ibrahim, S njimi silni Begler-beg. Mighty Beylerbey with him.

Sulejman. Suleiman. To je nada naša! Our hope lies in them! [6] Idi namah, reci im: [6] Go now and tell them: 46

cpo 555 335–2 Booklettestb.indd 46 19.05.2020 08:34:12 „Pobjede se vije stijeg, “Under the banner of victory Na vojnu je poć.“ Let us go to war.” Idi, zovni sve! Go, call everyone!

Mehmed (odlazi.) Mehmed (leaves.)

Sulejman (sam.) Suleiman (alone.) Vraća mi se stara moć, My old power is back, Mlada krvca vrȇ! Young blood is boiling! Samo sada ili nikada, It is now or never, Sad il‘ nikad Beč je moj! Vienna is mine, now or never!

Prizor četvrti Scene IV Sulejman. Mehmed. Mustafa. Ali Portuk. Begler-beg. Levi. Suleiman. Mehmed. Mustafa. Ali Portuk. Beylerbey. Levi. Vojnici. Soldiers.

(Ulaze, pošto se je otklonio zaslon). (They come in when the curtain is pulled).

Vođe. Captains. Nek‘ Alah prati vijek tvoj svaki hod! May Allah protect every step you make! Nek‘ slavom cvate svak tvog djela plod! May His glory blossom in all you do! Ti nas povedi sad slavni u boj. Take us now to glorious battle! Nikog ne štedi nas, rob svak‘ je tvoj! Do not spare us, we are all your slaves!

Zbor (opetuje). Choir (repeats).

Vođe. Captains. Slava ti, care, oj Alah nek‘ te brani, Glory to you, Emperor, may Allah guard you, Vodi nas, kamo znaš, vođa si nam znani! Take us where you will, magnificent leader!

Zbor (opetuje). Choir (repeats).

Sulejman. Suleiman. Zdravo da ste, vjerne sluge, Welcome, faithful servants, Druzi moje slave. Da ste zdravo! Companions in my glory. Greetings!

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cpo 555 335–2 Booklettestb.indd 47 19.05.2020 08:34:12 Svi. All. Osloni vijek se na nas, Always rely on us, I vodi nas u boj, vodi na smrt! And take us to battle, take us to death!

Sulejman. Suleiman. Ne, ne u smrt – na pobjedu! No, not to death – to victory! Pamtite li uvredu Do you remember the insult Njemačkoga cara? Of the German emperor? Platit će mi danak već, He will pay tribute yet, Ona guja stara, The old snake, Kad mu otmem Beč! Once I wrestle Vienna from him!

Svi. All. Na Beč, na Beč nas vodi! To Vienna, lead us to Vienna! To srcu našem godi! It is our heart’s delight!

Sulejman. Suleiman. Neka bude! Ali prije So be it! But before Nego na Beč skorim, I hurry to Vienna, U Ugarskoj tvrđe dvije There are two forts in Hungary Hoću da pokorim! That I want to subdue! Siget prvi! Szigeth is the first!

Mehmed. Mehmed. U Sigetu je Zrinjski! There is Zrinjski in Szigeth!

Sulejman. Suleiman. Šta Zrinjski? Tko to veli? What of Zrinjski? Who said that?

Mehmed. Mehmed. Junačina je on! He is a hero!

Svi. All. Junačina je on! He is a hero!

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cpo 555 335–2 Booklettestb.indd 48 19.05.2020 08:34:12 Sulejman. Suleiman. Šta Zrinjski? Ja sam Sulejman! What of Zrinjski? I am Suleiman!

Levi. Levi. Care naš! My Lord!

Sulejman. Suleiman. I jesam car vaš! Yes, I am your Lord!

Mehmed. Mehmed. Dok silni Hrvat taj As long as that mighty Croat Životom Siget brani, Defends Szigeth with his life, Uzet ga nećeš, znaj! You will not take it! Ti Sigeta se kani! Give up on Szigeth!

Svi. All. Ti Sigeta se kani! Give up on Szigeth! Pod Beč nas ravno vodi! Take us straight to Vienna!

Sulejman. Suleiman. Ha! Vi ste velikani, Ha! Mighty men you are: Kijem svaki vjetar škodi! Hurt by a gust of wind! Ja hoću Siget, Zrinjskog hoću! I want Szigeth, I want Zrinjski! U boj vas vodim! Da, sad u boj! I lead you to battle! To battle, now!

Svi. All. Nek‘ Alah prati vijek tvoj svaki hod! May Allah protect every step you make! Nek‘ slavom cvati svak tvog djela plod! May His glory blossom in all you do! Ti nas povedi sad slavni u boj. Take us now to glorious battle! Nikog ne štedi nas, rob svak‘ je tvoj! Do not spare us, we are all your slaves!

Sulejman. Suleiman. Svi složno hajmo, na Siget valja poći! Let us go united, we must go to Szigeth! Past će on, past će Beč ispred naše moći. It will fall, then Vienna will fall to our might.

Svi (opetuju.) All (repeat.) 49

cpo 555 335–2 Booklettestb.indd 49 19.05.2020 08:34:12 II. SLIKA SEQUENCE II (Dvorana u gradu Sigetu.) (Hall in Szigeth town.)

Prizor prvi Scene I (Kako se zastor diže, gledalac vidi Juranića u odlasku i (As the curtain rises, the audience sees Juranić leaving and Jelenu kako ga zaustavlja). Jelena stopping him.)

[7] Jelena. [7] Jelena. Ah, kamo, dragi? Ah, where to, my love? Ti ode zar? Are you leaving? Gdje je pogled blagi, Where are your gentle eyes, Gdje ljubve žar? Where the ardour of love?

Juranić. Juranić. Oprost‘, oprosti mila, Forgive me, love, Na pos‘o goni sila. I have to go to work.

Jelena. Jelena. Još nikad takve riječi I have never heard Iz tvojih ne čuh ustâ; Such words from your mouth; Ah kako tužno ječi Oh, my empty bosom echoes I boji grud se pusta. With sadness and fear.

Juranić. Juranić. Umiri se, ja odoh, Calm down, I am leaving Na skoro pak ću doć. But I will get back soon.

Jelena. Jelena. Ti prije dan si pod‘o First you gave me day, A sad mi daješ noć, Now you are giving me night. Oj, kako brzo mine O, the lovely day of life Života krasni dan, Is so fleeting, A za njim guste tmine Followed by thick darkness Povlače grozni san! Bringing awful dreams!

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cpo 555 335–2 Booklettestb.indd 50 19.05.2020 08:34:12 Juranić. Juranić. U dvoru mene zovu! Sad zbogom! They are calling from the castle! Goodbye!

Jelena. Jelena. O ne idi, ne idi! Zar više O, don’t go! Don’t you Ne ljubiš mene ti? Love me any more?

Juranić. Juranić. Ah! Za tebe duša diše, Ah! My soul lives for you, Srce šapće: ti, ah ti! My heart whispers: you, oh you! Dvije s‘ u jednu dušu sliše, Two souls have merged, Ta smo jedna duša mi. And now we are one.

Ti jedina, izabrana Only you are the chosen Danica si žiću mom. Morning star of my life. Ti si radost mojih dana, You are the joy of my days, U tuđinstvu ti moj dom. My home in foreign lands. (zagrlio ju). (he embraces her).

Jelena. Jelena. Kako li krasne, How wonderful, Kako li jasne How clear, Riječi su meni te. These words sound to me.

Juranić (trgne se), Juranić (starts). Jur čujem svoje čete glas, Now I hear my company, Zbogom, dušo! (poljubi ju i ode brzo). Goodbye, love! (he kisses her and rushes out).

[8] Jelena (sama). [8] Jelena (alone). On ode! Bože, čemu He left! God, why Požurit mu se valja? Hurry so? (ide k prozoru). (she goes to the window). Na konja sjeda poput munje He jumps on his horse like lightning Sa četicom se krenu. And leaves with his company. Ah, šta će opet biti, Ah, what now, yet again, Zar vijek će krv se liti, Will blood be spilled forever, 51

cpo 555 335–2 Booklettestb.indd 51 19.05.2020 08:34:13 I zavijek trajat boj? Will there be war forever?

(Romanca). (Romance).

Gdje na tvrdu On a hard Stancu-brdu Rocky hill Stari stoji Zrinjski grad, Stands the old Zrinjski town. Tamo mlada There a young Duša rada And glad soul U Hrvatsku leti sad. Flies to Croatia now.

Moje sreće The first flowers Prvo cvijeće Of my happiness Krasno mi je cvalo tu. Beautifully blossomed there. Ljubav sveta Sacred love Mladih ljeta In my youth Obuze mi dušu svu. Captured my entire soul.

Ali tada But then, Iznenada Suddenly, Bojne trublje jeknu jek! The sound of a war trumpet! Sreća minu, Happiness is past, Ljubav zginu, Love is dead, A ja tužna tužim vijek. And I grieve, always. (Dok Jelena, stojeći pri prozoru, pjeva, ukaže se s lijeva (While Jelena is singing by the window, her mother Eva ulaza mati joj Eva.) enters from the left.)

Prizor drugi Scene II Jelena i Eva. Jelena and Eva.

[9] Eva. [9] Eva. Šta je, drago dijete? What is it, dear child?

Jelena. Jelena. Ništa, ništa, majko! Nothing, mother! 52

cpo 555 335–2 Booklettestb.indd 52 19.05.2020 08:34:13 Eva. Eva. Suzu vidim u tvom oku: I see a tear in your eye: Kaži majci sve! Tell your mother everything!

Jelena. Jelena. Ništa dobra! Slutim Nothing good! I feel Da će težak snać nas jad. Great sorrow coming. Baš je sada ovdje bio He was here just now, Hladan kano led. Cold as ice.

Eva. Eva. Tko je bio? Who do you mean?

Jelena (pada joj o grud.) Jelena (falls into her arms) Ah! Juranić! Ah! Juranić!

Eva Eva. Ne boj mi se, kćeri mila, Don’t be afraid, daughter dear, Njega valjda služba zove. His duty must have called.

Jelena. Jelena. Služba da! Al‘ teška služba: Yes, duty! But a hard duty: Na nas ide Turčin klet! Accursed Turk attacking us!

Eva (vidi gdje Zrinjski ide). Eva (sees Zrinjski coming). Ne cvijeli više! Eto oca: Weep no more! Your father comes: Ne bih rada, da ti suzu vidi. I don’t want him to see your tears.

Prizor treći Scene III Jelena. Eva. Zrinjski (dolazi s desna). Jelena. Eva. Zrinjski (comes from the right).

[10] Zrinjski. [10] Zrinjski. O ženo draga, milo dijete, Dear wife, sweet child, Po cijelom gradu tražim vas! I’ve been looking all over town for you! Nek riječ vas moja sad ne smete, Don’t be upset by my words, 53

cpo 555 335–2 Booklettestb.indd 53 19.05.2020 08:34:13 Jer neizvjestan još je glas. The report is yet dubious.

Eva. Eva. Koji glas? Sve reci! What report? Tell us all!

Zrinjski. Zrinjski. Još ne znam pravo što je, It is still unclear, Al‘ čekam vijesti svaki čas; But there should be news soon; Jer vele, sultan da je They say the Sultan himself Na vojnu poš‘o sam. Has gone to war.

Jelena. Jelena. Majko mila, Mother dear, Pogibelj prijeti nam! We are in peril!

Eva. Eva. Misliš, Zrinjski, da će na nas Zrinjski, do you think Sultan krenut? The Sultan will pass us by?

Zrinjski. Zrinjski. Ne, ne! To sultan činit neće. No, no! The Sultan won’t do that.

Eva. Eva. S tobom dijelim radost svaku, I share all my joys with you, Ti da brigu nosiš sam? Why should you worry alone? Sve mi reci, u tom mraku Tell me all; in this darkness Istine mi godi plam. I love the glow of truth.

Zrinjski. Zrinjski. Znam te, ženo, I know you, wife, Tebe ženo znam! I know you well! Kad sultan na boj kreće, When the Sultan goes to war, Na Siget kreće on. He goes to Szigeth.

Jelena. Jelena. Šta? Na Siget? Bože! What? To Szigeth? My God! 54

cpo 555 335–2 Booklettestb.indd 54 19.05.2020 08:34:13 Zrinjski. Zrinjski. Ti budi majke vrijedna, Be worthy of your mother, I otcu mila kći! Be your father’s dear daughter!

Eva. Eva. Ne boj mi se, mila! Don’t be afraid, dear!

Jelena. Jelena. Majko, pogibelj prijeti nam! Mother, we are in peril!

Prizor četvrti Scene IV Pređašnji. Alapić (sredinom). The former. Alapić (comes through the middle).

[11] Alapić. [11] Alapić. Bane, novu nosim vijest! Viceroy, I bring news!

Zrinjski. Zrinjski. Govori! Nek‘ i one čuju. Speak! Let them hear too.

Alapić. Alapić. Iz Pečuha glasnik javlja, We learned from a messenger from Pécs Da se na boj sultan spravlja That the Sultan is going to battle S dvijesta tisuć ljudi. With two hundred thousand men. Stoga, bane, spreman budi, Therefore, Viceroy, be ready, Sultan na nas grede. The Sultan is marching against us.

Zrinjski. Zrinjski. Junaci moji vrijede, My heroes are worthy, Hrvati vijek su prvi. Croats are always the first. Za dom, za rod su prvi. The first for the home and kin. Z dom, za rod ne štede For the home and kin, Prolijevat svoje krvi! Ready to shed their blood! (obrne se ženi i kćeri). (turning to his wife and daughter) Umiri kćerku, ženo! Calm our daughter, wife! Još Juranića čekam, I am still waiting for Juranić, 55

cpo 555 335–2 Booklettestb.indd 55 19.05.2020 08:34:13 Da čujem njegov glas. To hear his news.

Alapić (pogleda kroz prozor). Alapić (looking out the window). Evo ga, kako se žuri! Here he comes in a hurry!

Jelena. Jelena. Sini mi, sunašce, sini, Shine on me, beloved sun, I rasprši tamnu noć. Ah! Dispel the dark night. Oh! Sa srca nevolju skini, Remove troubles from my heart, Dođi o dragi, o dođ! Come, my love, come!

Eva. Eva. Rasti, cvati, materina diko, Grow, blossom, mother’s pride, Bog će dati, da mi sretna budeš. God will give you happiness.

Prizor peti Scene V Pređašnji. Juranić (dolazi s Paprutovićem nekoliko The former. Juranić (comes with Paprutović and some časnika.) officers)

[12] Zrinjski. [12] Zrinjski. Govori, šta je? What is it? Speak!

Juranić. Juranić. U boj, u boj, mač iz toka, bane! To battle! Draw your sword, Viceroy!

Paprutović. Paprutović. Jur pređe Dravu Mehmed-beg. Mehmed-beg has already crossed the Drava.

Ostali časnici. Other officers. Sela nam pali, He is burning our villages, Gradove ruši u prah; Razing our towns; Srce si kali, Steeling his heart, Zadaje trepet i strah. Spreading fear and terror.

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cpo 555 335–2 Booklettestb.indd 56 19.05.2020 08:34:13 Juranić. Juranić. Daj mi četu hrabrih konjanika, Give me a brave cavalry band Da ukrotim toga obijestnika. To tame his arrogance.

Jelena. Jelena. Oh, tužnoj meni! Oh, woe is me! (pada majci na grudi). (falls into her mother’s arms)

Juranić. Juranić. Raduj se sa mnom, o dušo! Rejoice with me, my love! Pasti će kleti naš vrag. The cursed devil will fall. Mnogoj u bitci sam kuš‘o I waged many battles Pogani smesti mu trag! To erase his foul trace! (Okrene se Zrinjskomu): (turning to Zrinjski): Bane, dugo mučah ja, Viceroy, I was long silent, U srcu tajnu nosim! Keeping a secret in my heart! Danas neka otac zna, Let the father know today Milu da kćerku prosim. That I ask for his daughter’s hand.

[13] Nisam ja bogata roda, [13] My parents are not rich, Ne prati tašta me čast. I do not have vain honours. Čast mi je bojna sloboda, My honour is battle freedom, Imanje mača mi vlast. My sword is my estate.

Desnicu domu i vjeri My hand to home and faith Zavjerih zavijek taj. Forever is pledged. Srce pak miloj ti kćeri, Your daughter’s heart: Daj mi ju, otče, ah daj! Give it, father, give it to me!

Zrinjski. Zrinjski. Sinko moj, znade Bog, My son, God sees Šta srce moje ćuti: What my heart feels Za vas sve ljubezne, For both of you, beloved. Da sreći vašoj sluti. It wishes you happiness.

Svoj blagoslov ću tebi dat I will give you my blessing 57

cpo 555 335–2 Booklettestb.indd 57 19.05.2020 08:34:13 I kćerku svoju s njime, And my daughter with it, Kad sretno mine ovaj rat, Once this war ends well, Kad slavno stečeš ime. Once you are covered in glory. Ti domu se oduži, Repay your debt to your homeland I mačem nju zasluži! And earn her with your sword!

Juranić (potegne sablju). Juranić (drawing his sabre) Sabljo moja, gujo ljuta, My sabre, my fierce snake, Vodi me u sveti boj! Lead me to the sacred battle!

Jelena. Jelena. Pođi, dragi, pođi, Go, my love, go, Nek‘ te čuva mili Bog! God keep you safe!

Zbor. Choir. Pođi, sretno dođi, Go, come back safely, Nek te čuva mili Bog! Dear God keep you! (Juranić odlazi sa časnicima. Jelena majci na grudih. (Juranić leaves with the officers. Jelena on her mother’s Grupa.) bosom. The group.)

III. SLIKA SEQUENCE III (Dvorište u gradu Sigetu.) (Courtyard in Szigeth town.) Juranić. Alapić. Zbor vojnika Juranić. Alapić. Choir of soldiers (slavi Juranićevu pobjedu.) (celebrating the victory of Juranić)

Prizor prvi Scene I

[14] Zbor. [14] Choir. Alapić i Juranić, Alapić and Juranić, Naša dika, naša čast, Our pride, our honour, Naše milje, naša čast! Our treasure, our honour! Neka živu slavni vijek! They reap everlasting glory! Hrvat umije sjeć, The Croat strikes well, Straha ne zna pred dušmaninom on; Never fearing the enemy; Slavu znade si steć, He covers himself with glory, 58

cpo 555 335–2 Booklettestb.indd 58 19.05.2020 08:34:13 Slavnu boju on je navijeke sklon. Always seeking fame in battle. Alapić! Juranić! Alapić! Juranić! Živili, živili na vijek! Hail them forever!

Prizor drugi Scene II Pređašnji. Zrinjski (dolazi svečano odjeven i oružan.) The former. Zrinjski (comes formally dressed and armed.) Paprutović. Paprutović.

[15] Zbor. [15] Choir. Živio nam svijetli ban! Hail our Viceroy!

Zrinjski. Zrinjski. Vi, braćo, sa mnom! Brothers, come with me! Bog daj uvijek kano danas God, let us always like today Veselje nek‘ se ori s pobjede! Shout with joy for victory! (okreće se Juraniću i Alapiću te se rukuje s njima.) (turning to Juranić and Alapić and shaking their hand) A komu slava toga dana Who else would deserve glory Već hrabrim vođam mojim? But my brave captains?

Alapić. Alapić. Ne meni, bane, ne, Not me, Viceroy, no! Već Juraniću slava. All the glory goes to Juranić.

Juranić (pokazuje na Alapića.) Juranić (pointing at Alapić) U boju on je bio sve, He was everything in battle, Bješnjaše poput lava. Raging like a lion.

Zrinjski (obrne se svim vojnikom.) Zrinjski (turning to all soldiers) Vi znate, braćo, vidjeste i čuste Brothers, you saw and heard Da sultan sam na Siget ide. That the Sultan himself goes to Szigeth. Povijedat ništa neću; I will say nothing, Jer znam, da je vjera tvrda. I know your faith is strong.

Zbor. Choir. Jest vjera tvrda, bane! Our faith is strong, Viceroy! 59

cpo 555 335–2 Booklettestb.indd 59 19.05.2020 08:34:13 Dok je nama na ramenu glava, While we have a head on our shoulders, Turčin grada svojim zvati neće! The Turk won’t claim this town!

Zrinjski. Zrinjski. A bit će boj na život i na smrt! It will be a fight to the death!

Zbor. Choir. Nek‘ bude, bane, vraga ćemo strt! So be it, Viceroy, we’ll smite the devil!

Alapić. Alapić. Ukloni kćer i ženu, daj ukloni Send your daughter and wife away Iz Sigeta! U Beču nek‘ pri kralju From Szigeth! Let them be with the King Za vrijeme rata budu! In Vienna during the war! Vojevat ćemo lakše bez njih! Our fight will be easier without them!

Juranić. Juranić. Al‘ ljepše ne! But not as beautiful!

Eva. Eva. Nikad, nikad! Never, never! Pa bilo što mu drago! Whatever happens, Ja ostajem uz muža svog! I stay with my husband! Gdje njemu grob, i meni tu nek‘ bude! I will have my grave next to him! Ah, Zrinjski, ne slušaj te ljude Ah, Zrinjski, don’t listen to them, Prem vjerne tebi. Though they be loyal to you. (obrne se kćeri:) (turning to her daughter) A kćerka moja, rumen cvijet, And my daughter, rosy flower, Uz zaručnika svoga. Together with her fiancé. Il‘ živjet s njime ili mrijet, She will live or die with him, Po volji jakog Boga. As it pleases God Almighty.

Juranić (Jeleni): Juranić (to Jelena): Vjerne su ti grudi ove, This chest is faithful to you, Tebe štiti ovaj mač! This sword protects you! Bog će dati sreće nove, God will give new happiness I utišat gorki plač. And dry the bitter tears. 60

cpo 555 335–2 Booklettestb.indd 60 19.05.2020 08:34:13 Jelena. Jelena. K‘o o suncu koplja rose Like a drop of dew in the sun, O tebi mi život sja, So my life shines in you, K tebi želje nose, My desire takes me to you, Uz tebe mi sreća sva. All my happiness is with you.

Eva (Zrinjskomu): Eva (to Zrinjski): Ah, vidiš, mili mužu, Ah, see, dear husband, Junačkog srca plod! The fruit of a heroic heart!

Zrinjski. Zrinjski. Sad istom ćutim, da sam Zrinjski! Only now do I feel like a Zrinjski! O ženo, dijete moje, O, wife, my child, Vi ostajete uz nas! You’ll stay with us!

Svi. Jelena and Juranić. All. K‘o o suncu koplja rose Like a drop of dew in the sun, O tebi mi život sja, So my life shines in you, K tebi želje nose, My desire takes me to you, Uz tebe mi sreća sva. All my happiness is with you.

(Eva i Jelena odu u grad). (Eva and Jelena go to the town).

Prizor treći Scene III Pređašnji bez Eve i Jelene. The former without Eva and Jelena.

[16] Zrinjski. [16] Zrinjski. Junaci, braćo! Heroes, brothers! Ma gdje se Hrvat s Turci bije, Wherever the Croat fights the Turks, Za dom se bori svoj! He fights for his homeland! I gdjegod Hrvat krvcu lije, And wherever the Croat sheds his blood, Slobode bije boj!. He fights for freedom! (čita pismo). (reading a letter) Od kralja stiže pismo. A letter has come from the king. Poručuje nam lijepo He is kindly telling us 61

cpo 555 335–2 Booklettestb.indd 61 19.05.2020 08:34:13 Da Siget dotle hrabro To hold Szigeth bravely, Držimo, dok bi njemu Until he manages Moguće bilo skupit To get together Sve svoje čete. All of his troops.

Zbor. Choir. Živio kralj! Long live the king!

Zrinjski. Zrinjski. K‘o svjesni borci, smjelo i veselo As loyal fighters, bold and eager, U sveti hajdmo boj, u smrt! Let’s go to the sacred battle, to death!

Zbor. Choir. U sveti hajdmo boj, u smrt! Let’s go to the sacred battle, to death!

Zrinjski. Zrinjski. Pa ako padnem prije ja, Should I be the first to fall, Tu Alapić je vođa vaš, Alapić will lead you on, A tada k‘o vođu, njega ćete slušat! And you will obey him as leader!

Zbor. Choir. A tada vođa, njega ćemo slušat! And we will obey him as leader!

Zrinjski. Zrinjski. Al‘ prije nego izginemo, But before we die, Zakunimo se Bogu velikomu: Let’s swear to our Lord God:

(Stupa napred i potegne sablju. Oko njega častnici i (He comes to the front and draws his sword. Officers and vojnici.) soldiers around him.)

Zrinjski. Zrinjski. Tako meni Boga velikoga, By God Almighty, Braniti ću Siget svojom krvlju; I will defend Szigeth with my blood; Ostavit vas, braćo, nikad neću, I won’t forsake you, brothers, Dok u meni živo srce bije! As long as my heart beats!

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cpo 555 335–2 Booklettestb.indd 62 19.05.2020 08:34:13 Zbor. Choir. Dok u nama živo srce bije! As long as our hearts beat! Tako nama Boga velikoga, By God Almighty, Branit ćemo Siget svojom krvlju! We will defend Szigeth with our blood! Ostavit te nikad, bane, nikad neć‘mo, We won’t forsake you, Viceroy, Dok u nama živo srce bije! As long as our hearts beat!

DRUGI ČIN Act II

IV. SLIKA SEQUENCE IV

Prizor drugi Scene II Pređašnji. Sulejman i Mehmed. The former. Suleiman and Mehmed.

[17] Sulejman (za se): [17] Suleiman (to himself): Još Siget stoji, Szigeth is still standing, Al‘ Siget moj još nije. It is not mine yet. (Mehmedu): (to Mehmed): Otiđi sam u Siget Go alone to Szigeth I reci Zrinjskom, And tell Zrinjski Da četa mala sili That his small band Odoljet neće moći! Can’t stop my troops! Nek‘ preda Siget, He should surrender Szigeth Nek on sa četom nosi glavu. And save the lives of his men.

Mehmed. Mehmed. Zalud briga, muka sva, It is a wasted effort, Njega dobro poznam ja! I know him well!

Sulejman. Suleiman. Ah rec‘, da štedit neću Well, tell him I won’t spare Ni djece, žene, nikog! Women, children, anybody! (dolazi Timoleon.) (Timoleon enters.)

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cpo 555 335–2 Booklettestb.indd 63 19.05.2020 08:34:13 Timoleon. Timoleon. Javljam, care, dobru vijest, Lord Emperor, good news! Pade Gjula i Kerečin. Gyula and Kerecsényi have fallen.

Sulejman (za se): Suleiman (to himself): Ah, rado čujem, rado! Oh, I am glad to hear it! Još Siget stoji, But Szigeth is still standing, (Mehmedu): (to Mehmed): A ti mu reci, Then tell him Da nudim svijetlu krunu! I offer him the crown!

Mehmed. Mehmed. Zalud briga, muka sva, It is a wasted effort, Njega dobro poznam ja! I know him well!

Sulejman. Suleiman. Nek‘ samo preda Siget, If he surrenders Szigeth, On kralj hrvatski budi! He will be Croatian king!

Mehmed. Mehmed. Slušat ću te, care moj, I obey, Lord Emperor, Al‘ ću zalud k njemu poć. But my mission will fail.

Sulejman. Suleiman. Nek‘ samo preda Siget - If he surrenders Szigeth, On kralj hrvatski budi! He will be Croatian king!

(odlazi s Mehmedom.) (He leaves with Mehmed.)

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cpo 555 335–2 Booklettestb.indd 64 19.05.2020 08:34:13 V. SLIKA SEQUENCE V

(Dvorana u gradu Sigetu.) (Hall in Szigeth town.)

Prizor prvi Scene I Zrinjski. Alapić. Juranić. Paprutović. Nekoliko časnika. Zrinjski. Alapić. Juranić. Paprutović. A few officers.

[18] Zrinjski. [18] Zrinjski. Jur puče zid na novom gradu The wall of the new town is falling Od ognja turskog! Ne mogu dulje To Turkish fire! I won’t be able Uzdržat druge navale. To stop the next attack. Zapalit ćemo novi grad, We’ll burn the new town Povući se u stari. And retreat to the old. Nek‘ vatra naša satre sad, Let our fire destroy now Što branit mač ne mari! What the sword will not defend!

Juranić. Juranić. Mirni građan blago sve The quiet townsman mildly Našoj preda ruci. Left it all in our hands. Zara da naša sila tre, Should our force destroy Što ne mogu vuci? What wolves cannot?

Zrinjski. Zrinjski. Šta misli Alapić? What does Alapić think?

Alapić. Alapić. Zapalit ga i strt u prah Burn it, raze it to the ground, Jer slaba nam je snaga! Because our force is weak!

Ostali. Others. Nek oganj plane u taj mah, Let fire burn right now, Da gradu nema traga. Leave no trace of the town.

Juranić. Juranić. A zašto kralj ne teče Why won’t the king hurry 65

cpo 555 335–2 Booklettestb.indd 65 19.05.2020 08:34:13 Junakom u pomoć? To help his heroes?

Zrinjski. Zrinjski. Ne zbori tako, sinko! Don’t say that, son! Ustrajat na tom mjestu valja, We must hold this place Pa nek se ruši cijeli svijet. Though the world should fall. Za dom, za vjeru i za kralja For homeland, faith, and king, rado znade Hrvat mrijet! The Croat will gladly die!

Prizor drugi Scene II Pređašnji. Dolazi časnik i preda pismo. The former. An officer comes and delivers a letter.

[19] Zrinjski (čita): [19] Zrinjski (reading): „Turski vođa prosi „The Turkish leader is asking Na samu zborit sa Zrinjskim.“ To speak with Zrinjski alone.“ Dovedi ga! Let him come! Vi drugi budite na blizu, You others stay close Očekujuć moj mig. And wait for my sign. Proglasite građanstvu, Tell the townspeople Nek‘ blago svoje nosi To carry their treasures U stari grad! To the old town! A tad, And then, Kad mignem ja, When I give the sign, Nek‘ oganj sja, Let the fires flare up I proždre sve. Žurno! Nek‘ dođe on! And consume it all. Hurry! Let him come! (Svi odu). (They all leave.)

Prizor treći Scene III Zrinjski (sam). Zrinjski (alone).

[20] Zrinjski (gleda kroz prozor na novi grad.) [20] Zrinjski (looking out the window at the new town) Gle, kako divno sjaji grad How lovely the town shines U božjeg sunca traku, In the rays of God’s sun, A ne zna, da će skoro jad Not knowing that it will soon U crnu nać ga mraku. Meet disaster in darkness. 66

cpo 555 335–2 Booklettestb.indd 66 19.05.2020 08:34:13 Ovako sjaji ljudski vijek: Human life shines the same: Na slave si vrhuncu; You reach the peak of glory; A tada dođe usud prijek Then destiny cuts it short, I kraj je rajskom‘ suncu! No more heavenly sun! Oj, zbogom, grade bijeli, Good-bye, fair town, I Zrinjski s tobom seli! Zrinjski leaves with you!

Prizor četvrti Scene IV Zrinjski. Časnik. Zatim Mehmed. Zrinjski. An officer. Then Mehmed.

[21] Časnik. [21] Officer. Turski vođa! The Turkish leader!

Zrinjski. Zrinjski. Nek uđe! Let him enter! (Časnik ode; Mehmed dođe.) (The officer leaves; Mehmed comes in.)

Zrinjski. Zrinjski. Sokoloviću, zar si ti? Is that you, Sokollu? Zdravo! Što dobra? Hello! Is all going well?

Mehmed. Mehmed. Pozdravljajuć te svijetli car The Great Emperor sends his greetings Poručuje da predaš grad. And tells you to surrender the town. On štuje hrabrost tvoju, He respects your courage Milostiv bit će tebi. And will show you mercy.

Zrinjski. Zrinjski. Milostiv bit će meni!? He will show me mercy?! Al‘ ja sam Šubić-Zrinjski! But I am Šubić-Zrinjski! Pa ako car tvoj želi grad, If your emperor wants the town, Nek sam po ključe dođe! He should come for the keys himself!

Mehmed. Mehmed. Al‘ ti si otac, muž! But you’re a father, a husband! 67

cpo 555 335–2 Booklettestb.indd 67 19.05.2020 08:34:13 Pa dobro! Ako ne daš grada, So be it! If you won’t surrender, Na muke, ruglo i sramotu We will torture, mock, and disgrace Razapet ćemo ženu, kćer! Your wife and daughter!

Zrinjski. Zrinjski. O, boljelo te grlo, Oh, curse your throat, Ti gadni čovječe! You foul man!

Mehmed. Mehmed. Meni te je žao! I pity you!

Zrinjski. Zrinjski. Ah, bijedno Ture, Ah, miserable Turk, Ti ne znaš moje žene, kćeri! You don’t know my wife or my daughter!

Mehmed. Mehmed. Ne traži sultan grada zahman, The Sultan isn’t asking for a gift, On svijetlu krunu nudi. He offers you a crown for the town. Da budeš kralj, gdje sad si ban, Instead of viceroy, be king, Ti kralj hrvatski budi! Be the Croatian king!

Zrinjski. Zrinjski. Nek‘ Zapolja mu bude kralj, Let Zapolja be his king, Al‘ Zrinjski nikad, nikada! But Zrinjski never, never! Hrvatu ban je kralj, Croats have their king: On mjesto kralja vlada. It’s the viceroy, ruling in his stead.

Mehmed. Mehmed. Još jednu riječ, al‘ strepi! One more word. Brace yourself! (vadi srebrni rog). (taking out a silver horn) Znaš li rog taj? Is this horn familiar?

Zrinjski. Zrinjski. Ah, grb je moj, a rog mi sina Đure! Ah, my coat of arms! It is the horn of my son Đuro!

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cpo 555 335–2 Booklettestb.indd 68 19.05.2020 08:34:13 Mehmed. Mehmed. Ulovismo ga, čuješ! He is in our hands, mind! Ako li ne daš grada, If you don’t surrender the town, Sin će tvoj da strada. Your son will die. Ah, mučit ćemo njega, Oh, we will torture him K‘o što nikog‘ još! More than anyone!

Zrinjski. Zrinjski. Moj sin! O Bože, sin mi Đuro! My son! Oh God, my son Đuro!

Mehmed. Mehmed. Govori sad, govori brzo! Speak now, speak quick!

Zrinjski. Zrinjski. Mučite ga, divlje zvijeri! Torture him, wild beasts! Reži, sijeci, pali, deri! Cut, slash, burn, flay! On je sin moj, junak, lav! He is my son, a hero, a lion! (otvori vrata i viče): (opening the door and shouting): [22] Paprutoviću, pali grad! [22] Paprutović! Torch the town! Nek‘ Turčin zna, Let the Turk know, Kad oganj sja, As the fire flares, Da tako grud nam plamti! That our chests burn the same!

Mehmed. Mehmed. Junaštvu tvom‘ se divim! I admire your valour!

Zrinjski. Zrinjski. K‘o ja, svi misle tako. Everyone thinks like I do. Jeleno! Evo! Alapić! Juranić! Jelena! Eva! Alapić! Juranić! Ovamo svi, ovamo! Come, all of you!

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cpo 555 335–2 Booklettestb.indd 69 19.05.2020 08:34:13 Prizor peti Scene V Pređašnji. Jelena. Eva. Alapić. Juranić. Paprutović. The former. Jelena. Eva. Alapić. Juranić. Paprutović. Časnici. Officers.

Eva. Eva. Što želiš, mili mužu? What do you want, dear husband?

Alapić. Alapić. Što oko tako sjaji? Why such a glint in his eye?

Zrinjski. Zrinjski. Recite Turčinu tomu Tell this Turk Zakletve svete riječi! The holy words of our oath!

Svi časnici. All officers. Do zadnje kapi krvi! To the last drop of blood!

Zrinjski (ženi i kćeri): Zrinjski (to his wife and daughter): I vi mu rec‘te! You tell him too!

Eva i Jelena. Eva and Jelena. Za dom je slatko mrijeti! It is sweet to die for our homeland!

Zrinjski (Zrinski ih grli). Zrinjski (embracing them). Na moju dođ‘te grud! (grupa). To my bosom! (group). (kroz prozor prodire svjetlost ognja). (the light of the fire shines through the window).

Paprutović. Paprutović. Sa sedam strana gori novi grad! The new town is burning on seven sides!

Zrinjski (Mehmedu): Zrinjski (to Mehmed): Otiđi, kaži caru, Go, tell the emperor U gradu što si vidio. What you saw in the town.

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cpo 555 335–2 Booklettestb.indd 70 19.05.2020 08:34:13 CD 2 CD 2

TREĆI ČIN Act III

VI. SLIKA SEQUENCE VI (Čador Sulejmanov). (Suleiman’s tent).

Prizor prvi Scene I Sultan sjedi u naslonjaču pogružen, satrven. Iza njega Levi. The Sultan sits in his chair, gloomy, downhearted. Mehmed uđe Levi behind him. Mehmed enters.

[1] Mehmed (tiho Leviju): [1] Mehmed (quietly to Levi): Kako je caru? How fares the Emperor?

Levi (također tiho). Levi (also quietly). O, zlo i još će gorje biti! From bad to worse!

Mehmed. Mehmed. Od kada boluje? Since when is he in pain?

Levi. Levi. Otkako ti se vrati Since you came back Iz Sigeta! From Szigeth! Ja dođoh k njemu iza tebe, I visited him after you, I nađoh ga u nemoći. And found him weak. On drhće, sve ga tijelo zebe. He is trembling, feeling cold all over. Ah, njemu nema pomoći. Ah, he is beyond help.

Mehmed. Mehmed. Ukloni se! Move aside! (Pristupi caru). (drawing near the emperor) Veseli se, o care! Rejoice, Lord Emperor! Po‘ Ugarske je tvoje, Half Hungary is yours Otkako Gjula pade. Since Gyula fell.

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cpo 555 335–2 Booklettestb.indd 71 19.05.2020 08:34:13 Sulejman. Suleiman. Ti reci, da je Siget moj! Tell me that Szigeth is mine! I egipatski bit ćeš kralj! And you’ll be king of Egypt! (zamisli se i najednom se trgne). (becoming pensive and suddenly starts) A gdje je Ivan Kralj, And where is King Ivan, Što svjetova me na taj rat, Who advised me to go to war, Sto tisuć‘ konjanika Who promised a hundred thousand horse Za boj mi stalno reče dat‘? To go to battle with me?

Mehmed. Mehmed. Izvini ga! On veli, He apologised and said that Da dravski most bi kasno gotov. The Drava bridge was finished too late.

Sulejman. Suleiman. A tko je imao gradit most? Who was in charge of the bridge?

Mehmed. Mehmed. Hamza-beg. Hamza-beg.

Sulejman. Suleiman. Odrubit daj mu glavu! Idi! Have him beheaded! Go! Nek‘ padne on! Nek‘ padne namah! Have him go down! Right away! (Mehmed ode). (Mehmed leaves).

Prizor drugi Scene II Sulejman. Levi. Suleiman. Levi.

[2] Sulejman. [2] Suleiman. Utruđen bojem sjedim, I sit, tired of fighting, Još svijet mi drhće sav! With the world quivering before me! Ja čeznem, venem, blijedim, I’m pining, withering, fading, Izdiše stari lav. The old lion is breathing his last.

Levi. Levi. On umire! He is dying! 72

cpo 555 335–2 Booklettestb.indd 72 19.05.2020 08:34:13 Sulejman. Suleiman. Prokletstvo na te! Što to veliš? A curse on you! What are you saying?

Levi. Levi. Prolijevat mi je suze, I must shed tears, Doskora smrt te uze. Death is upon you.

Sulejman. Suleiman. Ha, zato suze liješ?! Ha, crying for that?! Levi, Levi, zar ti mniješ Levi, Levi, do you think Da junak teško umire? A hero finds it hard to die? Al‘ samo sad mi pruži lijek, But give me your medicine now, Da prije vidim glavu So I can see that head Pod mojom nogom! Under my foot soon! O Zrinjski, o Zrinjski! Oh Zrinjski, oh Zrinjski! I ti ćeš sa mnom poći! You will go with me!

Prizor treći Scene III Pređašnji. Mehmed. Begler-beg. Mustafa. Ali Portuk. The former. Mehmed. Beylerbey. Mustafa. Ali Portuk.

[3] Mehmed. [3] Mehmed. Po želji tvojoj pade Hamza-beg! As you wished, Hamza-beg has fallen!

Ostala trojica. The other three. Pred čadorom mu leži glava! His head lies before the tent!

Sulejman. Suleiman. Juriš! Juriš! I Siget mora past, Charge! Charge! Szigeth must fall too, I Zrinjski s njim! Juriš, juriš! And Zrinjski with it! Charge, charge!

(Tri vođe odu). (The three captains leave.)

Sulejman. Suleiman. (Čuju se trublje na juriš). (Trumpets ring out the charge.) Pomozi, Levi! Help me, Levi! 73

cpo 555 335–2 Booklettestb.indd 73 19.05.2020 08:34:13 O drži me, pomozi! Oh, hold me, help me! Alah, Alah, čuj svog slugu! Allah, Allah, hear your servant! Razveseli moju tugu! Dispel my sadness! Prije moje smrti Before I die, Daj mi Siget strti! Let me crush Szigeth!

Mehmed. Mehmed. Izruči meni daljnu brigu. Leave it to me. (Opet trube). (Trumpets again.)

Sulejman. Suleiman. Zar ne čuješ gdje kliču? Can’t you hear them cry? Ah, kako godi uhu mom‘ Ah, how my ear loves Ta buka, te me sjeća That sound, it reminds me Prošastih dana mojih! Of the days of my past! Juriš! Juriš! Charge! Charge!

Prizor četvrti Scene IV Pređašnji. Ali Portuk. The former. Ali Portuk.

Ali Portuk. Ali Portuk. Suzbijen si, o care, You’ve been beaten back, Lord Emperor, A čete tvoje bježe! And your troops are running away!

Sulejman. Suleiman. Siget mora past! Naprijed! Naprijed! Szigeth must fall! Forward! Forward!

Ali Portuk. Ali Portuk. Ne mogu, možni care! I can’t, my Lord!

Sulejman. Suleiman. (bijesan, ispravi se i baci bodež na Ali Portuka). (Enraged, rises and throws a dagger at Ali Portuk). U pak‘o hajd! (pada na otoman). Go to hell! (Falls on the sofa) Juriš, juriš! (izdahne). Charge! Charge! (Dies.)

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cpo 555 335–2 Booklettestb.indd 74 19.05.2020 08:34:13 Levi. Levi. Alah! Care gospodaru! (Klekne do njega). Allah! My Lord Emperor! (Kneels beside him.)

Mehmed (pristupi). Mehmed (coming closer). Ha! On izdahnu! Ha! He’s dead! [4] Sad je vlast u mojih ruku, [4] Now the power is in my hands, Sad će za me Zrinjski čut, Now I will teach Zrinjski, Spravit ću mu grdnu muku, I’ll make great trouble for him, I za carem kazat put! And show him the way to the emperor! A sad na Siget! U Stambul tada ravno! Now to Szigeth! And then straight to Istanbul!

VII. SLIKA SEQUENCE VII

(Podzemlje u gradu Sigetu). (Underground of the Szigeth citadel.)

Prizor prvi Scene I Eva i Jelena (ulaze). Eva and Jelena (entering).

[5] Eva. [5] Eva. Ovamo, kćeri moja, Here, my daughter, Zaklonimo se ovdje! Let us seek shelter here!

Jelena. Jelena. Ah čini mi se, majko, Ah, mother, this place To mjesto kano tamnica! Seems like a dungeon! Tijesna mi je grud! I can’t breathe! Strah me hvata lud, I am in grip of a mad fear, Sve se tijelo trese! My whole body is shaking!

Eva. Eva. O dijete moje, O, my child, Doskora bit će bolje! It will be better soon! Tu mjesta nije za nas! This is no place for us! Provalit ćemo danas Today we break free Iz tamnice nam ove, From this dungeon

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cpo 555 335–2 Booklettestb.indd 75 19.05.2020 08:34:13 Kud Bog nas, kćerko, zove! To wherever God calls us, daughter!

Jelena. Jelena. Nek bude volja Božja! Let it be as God wills!

Eva. Eva. Sa ocem još mi zborit valja, I have yet to talk to father. Ti čekaj tu, i spremna budi! You wait here and be ready Kad pošaljemo po te. For when we call for you. Ja idem! Dok se vidimo! I’m going! See you!

Jelena. Jelena. Zbogom, mila majko! Zbogom, zbogom! Good-bye, dear mother! Good-bye! (Eva ju poljubi i ode). (Eva kisses her and leaves.)

Prizor drugi Scene II

[6] Jelena (sama). [6] Jelena (alone). O bože, gdje sam? Oh, God, where am I? Zar tu? Ah tu? Here, is it? Ah, here? Nikoga nema, nikoga, There is nobody, nobody Tamnice da me riješi. To release me from this dungeon. Nema ni moga dragoga, Nor my beloved Bolno da srce tješi! To soothe my aching heart!

O, gdje si, dragi? Ah čujem te! Oh, where are you, love? Ah, I hear you! Al‘ ne, to vjetar huji! But no, it is the wind! Šta čujem? Kano pjesme zvuk, What am I hearing? It sounds like a song, K‘o majčine pjesme jeka. Like the echo of mother’s song. Još jednom, bolna srca, Once again, with an aching heart, Pjevat ću majčinu pjesmu. I will sing mother’s song.

POPJEVKA. SONG.

Cvate ruža rumena A red rose blooms Posred vrta bajna. In a lovely garden. 76

cpo 555 335–2 Booklettestb.indd 76 19.05.2020 08:34:13 Kakva mi je ljuvena, My beloved looks Kano zora sjajna. Like the splendid dawn.

Oj, ti, ružo, ružice Oh, rose, sweet rose, Tko će ubrat tebe? Who will pick you? Čije li će ručice Whose graceful hands Tobom kitit sebe? Will you adorn? Doć će junak mlađani, A young hero will come Ubrat će te jednom. And pick you one day. Moj će vrt se krašani My lovely garden Tugom odjet lednom! Will sink in icy grief. (Jelena sve tiše pjeva; pri koncu savlada ju čuvstvo i ona (Jelena sings ever more quietly; at the end, she is overcome usne. U snu joj se prikazuje sanak o njezinoj sreći). with feeling and falls asleep. In her sleep, she sees the dream of her happiness.)

Prizor treći Scene III (Sanak Jelene: Mjesto oko Zrinja-grada. Vile se sastanu i (Jelena’s dream: a place near Zrinj town. Fairies meet and pjevaju). sing).

[7] Zbor vilâ. [7] Fairy choir. Ljubio je goluban A pigeon loved Golubicu bijelu, A white dove, Pjevao joj po vas dan, Sang to her all day, Gukô noćcu cijelu. Cooed all night.

Golubica Jelena, The dove is Jelena, Golub njezin dragi, The pigeon her lover, [8] U nje usta medena, [8] She has a sweet mouth, U njeg pogled blagi. He has gentle eyes.

Vile. Fairies. Vaše sreće The first flowers Prvo cvijeće Of your happiness Krasno vama cvate tu: Bloom wonderfully here: Ljubav sveta The sacred love Mladih ljeta Of young years

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cpo 555 335–2 Booklettestb.indd 77 19.05.2020 08:34:13 Obuze vam dušu svu! Overcomes your entire soul!

Ljubio je goluban A pigeon loved Golubicu bijelu, A white dove, Pjevao joj po vas dan, Sang to her all day, Gukô noćcu cijelu. Cooed all night. Sretan bio ovaj pir! Much happiness on your wedding day! (Kad ispjevaju, isčeznu vile. Jelena se vidi na mjestu, gdje (When the fairies finish their song, they disappear. Jelena is je usnula). seen in the place where she fell asleep).

Prizor četvrti Scene IV Jelena se prene. Jelena starts.

Jelena (kao iz sna). Jelena (awakening). U njeg‘ usta medena, He has a sweet mouth, U njeg‘ pogled blagi! He has gentle eyes. Ah! Šta je to? Ah! What is it? Kako milo ječi zvuk! The echo is so lovely! Je l‘ istina il‘ samo san? Is it the truth or just a dream? Ah san je, san! Ah, it is a dream, a dream! Sve je k‘o i prije, Everything is like before, Utjehe mi nije, I have no consolation, Sve je samo san. – All is just a dream. –

Prizor peti Scene V Jelena. Juranić (dolazi). Jelena. Juranić (comes in).

Jelena (poleti mu na grudi). Jelena (falls into his arms). O, nije san, Oh, it is no dream Kad tebe grlim! When I embrace you!

Juranić. Juranić. O, pođi sa mnom, draga! Oh, come with me, love!

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cpo 555 335–2 Booklettestb.indd 78 19.05.2020 08:34:13 Jelena. Jelena. Čuj me, čuj! Listen to me! Sanjala sam divan san, I had a wonderful dream, Jasno k‘o na javi, Clear as waking life. Da je doš‘o vjenčan dan, I dreamt my wedding day, Vršak našoj slavi! The peak of our glory!

Juranić. Juranić. Vjenčat će nas vječni Bog We will be married by God Almighty U nebeskih dvorih! In heavenly halls! Po te dođoh! Otac zove! I have come for you! Father calls! Sve je spremno! Hajd, o hajd! All is ready! Come, oh, come!

Jelena. Jelena. Zar ja? A kamo? Me? Where? Ne mogu nikamo! I can’t go anywhere! Zar da me Turčin ubije, Should I be slain by the Turk, Il‘ gorje još, da muči mene? Or even worse, tortured? O ne! O ne! Oh no! Oh no! (bliže k njemu) Evo ti noža, (coming closer to him) Here is a knife, Probodi svoju Jelenu, Stab your Jelena, Nek s tvoje ruke umre. Let her die by your hand.

Juranić. Juranić. O jao, dušo, šta to reče? Oh woe, what are you saying, love? Da tebe ja probodem? O bože! Me, stab you? Oh God!

Jelena. Jelena. Na koljenih te molim, I beg you on my knees, Probodi me! Stab me! Il hoćeš, da me Turčin muči, Would you rather have the Turk torture me, Sramoti naše ime! Shame our name!

Juranić. Juranić. Oprosti, bože! O Jeleno, oprosti! God forgive me! Oh, forgive me, Jelena! (očajan hoće da ju probode) (desperate, he is about to stab her) 79

cpo 555 335–2 Booklettestb.indd 79 19.05.2020 08:34:13 Jelena. (ustavi mu ruku). Jelena (stopping his hand). Ne tako bijesno! Not so fiercely! Polako nož u srce rini, Slowly thrust the dagger into the heart, Polako, polagano. Slowly, slowly. Sa usta mojih dušu skini, Deliver my soul from my mouth, Da umrem potihano. So I can die quietly.

Jelena i Juranić. Jelena and Juranić. Zbogom srećo moja, Good-bye, my happiness, Kratka mi bijaše, You didn’t last long! Posred ljuta boja In this bitter battle Kraj je ljubve naše. Our love is over.

(Juranić ju probode: ona mu padne u naručaj). (Juranić stabs her: she falls into his arms).

Jelena. Jelena. Hvala, dragi! Thank you, love! Ti smrću život daruješ! You give life through death! (slabije). Još jedan cjelov! Tako! (weakly). Another kiss! Like so! A sada zbogom, zbogom! And now good-bye, good-bye! Pozdravi oca, majku, junake sve! Give my love to father, mother, all the heroes! Zbogom! Good-bye! (Jelena izdahne). (Jelena dies).

Juranić. Juranić. Ne, ne! Probudi se! No, no! Wake up! O Bože! Zar je nema? Oh God! Is she gone? Ah, blago tebi, dušo čista, Ah, bless you, pure soul, Tvoj je svijetli raj. Bright heaven is yours. – (čuje izvana glasove). (he hears voices from the outside).

Ha već zovu, već je čas! Ha, they are calling already, it is time! Sad rado umirem! Now I die gladly!

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cpo 555 335–2 Booklettestb.indd 80 19.05.2020 08:34:14 VIII. SLIKA SEQUENCE VIII

Prizor prvi Scene I (Dvorište u gradu Sigetu). (Courtyard in the Szigeth citadel). Zrinjski. Eva. Zrinjski. Eva.

[9] Zrinjski. [9] Zrinjski. Evo! Pod vedrim nebom zadnju riječ ti zborim, Under the clear sky, this is our last talk, Nek‘ nebo čuje zadnji pozdrav moj! Let heavens hear my last farewell! Nadođe čas da kano Hrvat tvorim, The time has come for me as a Croat Održim rodu sveti zavjet svoj! To make the sacred oath to my people! I Zrinjski će uminut, Zrinjski will pass away, I četa mala s njim, And his small band with him, Al‘ rodu sunce sinut, But the sun will shine on our people, Raspršit ropstva dim! Dispel the smoke of slavery! Al‘ zašto moram ja, oh, But why must I, oh, Žrtvovat dijete, ženu? Sacrifice my child and wife?

Eva. Eva. Ne krati slave nama! Don’t rob us of glory! Ta što je život bez tebe? What is life without you? Od usta će do usta letit The pride of your heroism Junaštva tvoga dike! Will spread by word of mouth! Uz tebe će se mene sjetit, They will remember me along with you, I kćeri Zrinjskog, Nike! And the daughter of Nikola Zrinjski! Kad plane grad, When the citadel goes up in flames, Na bedemu ću stajat, I will stand on the rampart, U prah ću baklju bacit, Throw my torch in the powder, Poletit u visine! And fly up high!

Zrinjski (zagrli ju). Zrinjski (embracing her). Na krilih slave letimo We fly on the wings of glory Pred vječne pravde sud! Before the court of eternal justice! Božanskim žarom njetimo A divine ardour kindles Hrvatsku vjernu grud! Our faithful Croatian breast!

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cpo 555 335–2 Booklettestb.indd 81 19.05.2020 08:34:14 Prizor drugi Scene II Pređašnji. Juranić (dolazi tužan). The former. Juranić (comes mournfully).

[10] Zrinjski. [10] Zrinjski. Gle milog sina, ženo! There’s our beloved son, wife! A gdje je naša kći? But where is our daughter?

Juranić. Juranić. Anđelak nam je Jelena, Your Jelena is an angel now, Ispred nas ode gore She has risen before us U vječne božje dvore. To God’s eternal halls.

Zrinjski i Eva. Zrinjski and Eva. O Bože, tebi hvala, Oh God, thank you Koj‘ blago uze nju! For gently taking her away!

Prizor treći Scene III Pređašnji. Alapić, Paprutović, časnici i vojnici. The former. Alapić, Paprutović, officers, and soldiers. (čuju se trublje turske na juriš). (Turkish trumpets ring out the charge).

[11] Zrinjski. [11] Zrinjski. Sad napred braćo, Now forward, brothers, Već zove bijesno Ture! The fierce Turk is calling! Ti Juraniću nosi zastavu, You, Juranić, carry the banner, Ja za tobom, I will go after you, A za mnom ti, (Paprutoviću). And you follow me (to Paprutović). A tada Alapić! Alapić is next! Ali prije nego izginemo, But before we die, brothers, Hajdmo braćo, da se zagrlimo Let us embrace each other. (Časnici ga okupe; (Officers surround him; on se grli i rukuje s njima). he embraces them and shakes their hand).

Juranić (digne zastavu). Juranić (raises the flag). U boj, u boj! To battle, to battle! Mač iz toka braćo: Draw your swords, brothers: 82

cpo 555 335–2 Booklettestb.indd 82 19.05.2020 08:34:14 Nek‘ Turčin zna. Let the Turk know Kako mremo mi! How we die!

Zrinjski, Alapić, Paprutović, Eva, časnici i vojnici. Zrinjski, Alapić, Paprutović, Eva, officers, and soldiers. Grad naš već gori, Our fort is burning, Siže do nas već žar! The flames have reached us! Rik turski ori, The Turkish cry is rising, Bijesan je njihov jar! Their fury raging!

K‘o požar taj Like this fire, Grudi naše plamte, Our chest is burning, Utiša rik The roar is silenced Mača naših zvek! By the din of our swords!

Ko bratac brata As brother to brother, Zrinjskog poljub‘te svi! Everyone kiss Zrinjski! Zrinjskom za vrata, To the gate after him, Vjerni junaci svi! All the faithful heroes!

Sad braćo! Now, brothers! Pun‘mo puške, samokrese, Let us load our guns, our pistols, Naše grome, naše trijese, Our lightning, our thunder, Neka ore, ruše, more! Let them roar, raze, slay! Brus‘mo ljute naše mače, Let us sharpen our bitter swords, Neka sijeku jače, jače! Let them cut deeper, deeper! Sad zbogom bud‘, dome naš, Good-bye now, our home, Zauvijek, oj zbogom, Forever, oh, good-bye, Od svud, od svud From all sides Na te dušman ide prijek! The foes are rushing against you! I već u grob sveti trup They want to put your holy body Sklada tvoj, al neće! Into the grave, but they will not! Za te sin svak u boj se kreće! All yours sons go to battle for you! Dome naš, ti vijekom stoj! Hold fast forever, homeland! Hajd u boj, u boj! Go to battle, to battle! Za dom u boj! To battle for our homeland! Ma paklena množ The hellish horde 83

cpo 555 335–2 Booklettestb.indd 83 19.05.2020 08:34:14 Na nj diže svoj nož; Raises its dagger against it; Hajd u boj! To battle! Nas mal, al hrabar je broj We are few but brave, Tko, tko će ga strt? Who, who will crush him? Smrt vragu, smrt! Death to the devil, death! Za domovinu mrijeti, kolika slast! Dying for our homeland, oh, what delight! Prot dušmaninu! Mora on, mora past!) Fight the foe! He must, must go down! (Svi odu). (They all leave).

[12] Prizor četvrti [12] Scene IV

Pozorište je dio gorućega staroga grada. Odzada novi grad The stage reveals a part of the burning old town. Behind it, s uzdignutim mostom. Buka Turaka. Juranić sa zastavom, there is the new town with the raised bridge. Clamour of the za njim Zrinjski i ostali. Junački se bore. Eva se ukaže na Turks. Juranić with the banner; Zrinjski and others follow. barutani s bakljom. Juranić pada, Zrinjski za njim. Eva They fight valiantly. Eva stands on the powder magazine baci baklju u barutanu: silan prasak: novi grad se sruši. with the torch. Juranić falls, then Zrinjski. Eva throws the Zastor padne. torch into the magazine; huge explosion; the new town is destroyed. The curtain falls.

Publisher of the material: Croatian Music Information Translated by Marko Maras Centre, Vatroslav Lisinski Concert Hall

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cpo 555 335–2 Booklettestb.indd 87 19.05.2020 08:34:14 Robert Kolar & Kristina Kolar cpo 555 335–2 (© Dražen Šokčević for CNT Ivan Zajc)

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