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The First Professional Opera Director in Slovenia

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The First Professional Opera Director in Slovenia UR. JERNEJ WEISS VLOGA NACIONALNIH OPERNIH GLEDALIŠČ V 20. IN 21. STOLETJU THE ROLE OF NATIONAL OPERA HOUSES IN THE 20TH AND 21ST CENTURIES 3 studia musicologica labacensia issn 2536-2445 studia musicologica labacensia Izid monografije so podprli vloga nacionalnih opernih gledališč v 20. in 21. stoletju the role of national opera houses in the 20th and 21st centuries ur. Jernej Weiss 2019 Znanstvena monografija z mednarodno udeležbo Vloga nacionalnih opernih gledališč v 20. in 21. stoletju – The Role of National Opera Houses in the 20th and 21st Centuries Uredil Jernej Weiss Studia musicologica Labacensia, 3 (ISSN 2536-2445) Glavni urednik ■ Jernej Weiss (Ljubljana/Maribor) Odgovorni urednik ■ Jonatan Vinkler (Koper) Tehnična urednica ■ Tjaša Ribizel (Ljubljana) Uredniški odbor ■ Matjaž Barbo (Ljubljana), Primož Kuret (Ljubljana), Helmut Loos (Leipzig), Lubomír Spurný (Brno), John Tyrrell († Cardiff), Michael Walter (Graz), Jernej Weiss (Ljubljana/Maribor) Recenzenti ■ Lubomír Spurný, Ivan Florjanc, Igor Grdina Oblikovanje in prelom ■ Jonatan Vinkler Prevod ■ Amidas d. o. o. Jezikovni pregled (slovensko besedilo) ■ Jernej Weiss Izdali in založili Založba Univerze na Primorskem (zanjo: prof. dr. Dragan Marušič, rektor) Titov trg 4, SI-6000 Koper Glavni urednik ■ Jonatan Vinkler Vodja založbe ■ Alen Ježovnik Festival Ljubljana (zanj: Darko Brlek, direktor) Trg francoske revolucije 1, SI-1000 Ljubljana Koper, Ljubljana 2019 ISBN 978-961-7055-50-4 (spletna izdaja: pdf) http://www.hippocampus.si/ISBN/978-961-7055-50-4.pdf ISBN 978-961-7055-51-1 (spletna izdaja: html) http://www.hippocampus.si/ISBN/978-961-7055-51-1/index.html ISBN 978-961-7055-52-8 (tiskana izdaja) Naklada tiskane izdaje: 200 izvodov (tiskovina ni namenjena prodaji) DOI: https://doi.org/10.26493/978-961-7055-50-4 © 2019 Festival Ljubljana Kataložni zapis o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani COBISS.SI-ID=298791680 ISBN 978-961-7055-50-4 (pdf) ISBN 978-961-7055-51-1 (html) Vsebina Jernej Weiss 9 The Role of National Opera Houses in the 20th and 21st Centuries Jernej Weiss 13 Vloga nacionalnih opernih gledališč v 20. in 21. stoletju Susanne Kogler 17 Neue Musik auf österreichischen Bühnen: Kritische Anmerkungen zum aktuellen Repertoire Helmut Loos 57 Tempel und Kathedralen für die ernste und heilige Musik. Opern- und Konzerthäuser und ihre Ikonographie Hartmut Krones 69 Die Wiener Volksoper als „nationale Spielstätte“ Wolfgang Marx 91 Opera in Ireland – A Continuing Struggle for Acceptance Lauma Mellēna-Bartkeviča 117 Opera and national culture in Latvia: the centenary balance Florinela Popa 129 On the Romanian Opera, Bucharest: One Author, Two Views Luba Kijanovska 143 Oper als Markt: Opernaufführung als Marketing-Trick 5 vloga nacionalnih opernih gledališč v 20. in 21. stoletju Vladimir Gurevich 155 Das Mariinski-Theater – zwischen Vergangenheit und Zukunft – das 21. Jahrhundert Vita Gruodytė 163 Opera without Theatre Jacques Amblard 173 “Spectacular” challenges of opera in the 21st century Lenka Křupková, Jiří Kopecký 183 Das Olmützer Provinztheater und seine Beziehung zu Marburg und Laibach. Das Olmützer Operntheater als Modell zur Herausbildung eines nationalen Theaters im Rahmen der Österreichischen Monarchie Cristina Scuderi 201 Teatri d’oltremare: Impresari und ihr Beziehungsnetz an der ostadriatische Küste um die Jahrhundertwende Ivano Cavallini 219 The Italian “National Opera” Imagined from a Southern Slavic Viewpoint: Franjo Ks. Kuhač and Josip Mandić Biljana Milanović 231 Opera Productions of the Belgrade National Theatre at the Beginning of the 20th Century Between Political Rivalry and Contested Cultural Strategies Nada Bezić 253 Ljubljanska in zagrebška Opera med drugo svetovno vojno – primerjava Aleš Gabrič 277 Ustanovitev Opere Narodnega gledališča v Ljubljani v sklopu izgradnje osrednjih narodnih kulturnih ustanov Jernej Weiss 291 Václav Talich at the Slovene Provincial Theatre in Ljubljana Primož Kuret 303 Sezona Fritza Reinerja v Ljubljani (1911–12) Matjaž Barbo 313 Operna »vožnja domov« Emila Hochreiterja Darja Koter 333 Ciril Debevec – the first professional opera director in Slovenia 6 vsebina Gregor Pompe 351 Repertoarna analiza ljubljanskega opernega uprizarjanja od ustanovitve Dramatičnega društva do danes Niall O’Loughlin 373 The European Musical Context of the Operas of Slavko Osterc Tjaša Ribizel 395 The Reception of the Ljubljana Opera House Repertoire by Critics in Slovenian Daily Newspapers from the end of the World-War II to the 1960s Tomaž Svete 405 Pota in stranpota sodobne slovenske operne ustvarjalnosti 413 Povzetki 433 Summaries 455 Avtorji 465 Contributors 475 Imensko kazalo/Index 7 doi: https://doi.org/10.26493/978-961-7055-50-4.333-349 Ciril Debevec – the first professional opera director in Slovenia1 Darja Koter Univerza v Ljubljani University of Ljubljana Since its establishment in 1892, until interruptions immediately before World War I, the director’s presence consistently appeared in different roles at the Slovenian Regional Theatre (Deželno gledališče) in Ljubljana, in dra- ma as well as in opera and operetta performances, both as an actor and/or a singer. Such a practice originated from the system of education of the social and professional dramatic schools, which was based on polyvalent roles, which meant that theatre actors in practice acted as actors, singers and/ or directors.2 It was established in most provincial theatres of the Austri- an monarchy as well as elsewhere. The independent role of the director was first introduced by the Moscow Drama School, founded by the famous Rus- sian actor Konstantin Sergeyevich Stanislavsky at the beginning of the 20th century, where he developed theatrical naturalism and the director’s func- tion became both discipline and art. With his acting and directing meth- ods, Stanislavsky has significantly marked the modern theatre and opera. He also took part in the Opera Studio of the Bolshoi Theatre, established in 1918. The Stanislavsky system, which he himself named “spiritual real- 1 The authors acknowledge financial support from the state budget by the Slovenian Research Agency (project No. P6-0376). 2 Darja Koter, »Glasbeno-gledališka režija na Slovenskem: od diletantizma Dra- matičnega društva do poskusov profesionalizacije v Deželnem gledališču« / “Mu- sic Theatre Directing in Slovenia: From Dilettantism of the Dramatic Society to (the Attempts of) Professionalism in the Regional Theatre,” Muzikološki zbornik / Musico- logical Annual 46/1 (2010): 57–72. 333 vloga nacionalnih opernih gledališč v 20. in 21. stoletju ism”, influenced modernism and the avant-garde of European and Ameri- can stage and it is still present in contemporary times.3 Its earliest institutional age, the Slovene Theatre in Ljubljana, in ac- cordance with common practice, performed a variety of musical and the- atrical works which often demanded both acting and singing ability from the individual as they performed plays with singing, operetta, and opera. This meant that the ensemble was generally uniform, until its more detailed concentration to opera and/or operetta, which occurred only after World War I, or after 1925, when the director of the Opera Theatre in Ljubljana be- came Mirko Polič.4 In accordance with the educational system and rooted practice, musical performances were directed by stage directors, who were usually employed in the drama ensemble, but they were expected to occa- sionally manage musical and theatre performances. An exception was Josip Nolli (1841-1902), an internationally renowned singer who returned to his native Ljubljana in 1890 after a successful European career, and as a sing- er and director, he co-formed opera and operetta performances from 1892 until his death in 1902.5 In the first period of the Slovenian Provincial The- atre, Ignacij Borštnik (1858-1919) also stands out as an actor and represent- ative of the Vienna “modern realistic direction”. He was active as a drama, and occasionally opera, director and worked in Ljubljana from 1886 to 1894 when he left for Zagreb due to unrealized career opportunities. After his departure, Slovene theatre and opera performances were usually directed by Czechs, mostly professional actors who continued the Prague direction. After 1909, a new generation of Slovenian actors and directors in the same person, such as Hinko Nučič (1883-1970) and Josip Povhe (1884-1951), start- ed to act at the Drama and Opera, introducing the characteristics of the re- 3 The New Grove Dictionary of Opera, Vol. 4 (ur. S. Sadie), Production 4: The Enlighten- ment: 1122. 4 Prim. Darja Koter, »Evropska kulturna migracija in ljubljanska Opera v obdobju Mirka Poliča (1925–1939)« / “European Cultural Migration and Ljubljana Opera in the Period of Director Mirko Polič (1925–1939),” Uprizoritvene umetnosti, migracija, politika: slovensko gledališče kot sooblikovalec medkulturnih izmenjav / Perform- ing Arts, Migration, Politics: Slovenian Theatre as an Agent of Intercultural Exchange, edited by Barbara Orel (Ljubljana: Znanstvena založba Filozofske fakultete, 2017), 64–83. 5 Darja Koter, »Josip Nolli – pionir Dramatičnega društva v Ljubljani« / “Josip Nolli - the pioneer of the Dramatic Society in Ljubljana,” Začetki in dosežki slovenskega gle- dališča moderne dobe: ob 150-letnici ustanovitve Dramatičnega društva v Ljubljani / The Beginnings, Achievements and Successors of Slovenian Theatre in the Modern Era: at The 150th Anniversary of the Dramatic Society in Ljubljana, edited by Štefan Vevar and Barbara Orel (Ljubljana:
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