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U nedjelju 19.svibnja 1985.god. izveo sam u Muenchenu koncertno, operu Nikola Šubić Zrinski Ivana pl.Zajca. Koncert je održan u Herculessaal, jednoj od največih i najljepših muenchenskih koncertnih dvorana i pod pokroviteljstvom predsjednika Bavarske vlade dr.Franz Josefa Straussa.
Bila je to prva izvedba jedne hrvatske opere u Zapadnoj Europi koju su izvodili stranci na hrvatskom jeziku. Bila je to i prva izvedba opere Nikola Šubić Zrinski u inozemstvu.
Protiv ove izvedbe jugoslavenski konzulat je poveo pravu hajku denuncirajući i prijeteći na sve strane. A spomenimo i to da su kritike koncerta u njemačkim novinama bile izvrsne.
Na taj događaj podsjeća me i album ploča koje smo snimili tom prilikom. Evo djela naslovne stranice:
Album se sastojao od dvije ploče. U unutrašnjosti albuma donesena je radnja opere kao i podaci o hrvatskoj himni, jer je album bio posvećen 150 obljetnici hrvatske himne. Inače, svi tekstovi su objavljenji na hrvatskom, njemačkom i engleskom.
Dio unutarnjih stranica albuma s tekstovima na stranim jezicima.
Dio stražnje strane albuma s popisom izvođača i slikom izvedbe.
Naslovnica koncertnog programa.
Komentar opere objavili smo na njemačkom.
Na drugoj stranici koncertnog programa objavili smo popis izvođača.
U programu, budući da smo slavili 150 obljetnicu hrvatske himne bila je otisnuta i Lijepa naša uz izvrsni prijevod na njemački.
Ovdje objavljujem samo neke pojedinosti. Ako vas zanima opširna priča o izvedbi opere Nikola Šubić Zrinski možete ju pročitati ovdje!!
Kritiku izvedbe opere Nikole Šubić Zrinski u New Yorku koju je objavio New York Times možete pročitati ovdje.
P.S. A kad sam već bio gotov sa sastavljanjem ovog bloga, sasvim slučajno sam naletio na jedan komentar o izvedbi Zrinskog u Sydney Opera House. Donašam ga ovdje u originalu (jer nemam vremena za prevođenje) pa će barem oni koji znadu engleski moći pročitati taj tekst.
http://www.jstor.org Conferences Source: The Musical Times, Vol. 129, No. 1742, (Apr., 1988), pp. 207 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/965329
SYDNEY Practically every musician in the first month of 1988 has tried to establish some connection between his or her programme and the Australian Bicentenary - though few were quite as assiduous as the organist who justified a performance of Mendelssohn's Sonata no.3 by an- nouncing that it originated in the year that saw the invention of a material without which the Australian outback could never have been developed - galvanized iron. More directly relevant was a work com- missioned from Peter Sculthorpe for the official Australia Day concert, with a text for chorus, solo soprano and narrator by Thomas Keneally; called Child of Australia, it was - as any work for an oc- casion like this has to be - tuneful, opti- mistic and bright. But the performance in the open on the Sydney Opera House forecourt by the Australian Youth Orchestra, Sydney Philharmonia Choir, Joan Carden and John Howard, con- ducted by Carlo Felice Cillario (who spends much time with the Australian Opera) had to be abbreviated because otherwise its closing pages would have been overwhelmed by a cannonade from 88 guns marking the onset of fireworks for which close to a million people had gathered around Sydney Harbour; and the sound of guns was considered incom- patible with this work's message of peace and reconciliation with the seamy side of our history, especially in relation to aborigines. Australian music was naturally in the spotlight. The mezzo-soprano Elizabeth Campbell, now arguably Australia's best resident singer, gave two all-Australian recitals with Anthony Fogg, featuring songs by Dorian le Gallienne, Margaret Sutherland, Alison Bauld, Ross Edwards, Malcolm Williamson, Eugene Goossens (an honorary Australian), Peter Scul- thorpe, George Tibbits, Colin Brumby, Andrew Ford and Percy Grainger. Other prominent local composers in pro- grammes with a bicentennial flavour in- cluded Nigel Butterley and Mark Isaacs. We heard music composed in and around 1788 by Mozart (who wrote the first of six German Dances K536 a day after the convicts arrived), Beethoven (op.39) and part. Balance in concertos is always a ma- jor problem, but it is not incapable of a sensible solution. DENIS STEVENS Haydn - none of whom had probably heard of Terra Australis. Some bicentennial tributes were odd. Melbourne heard Professor Manning Clark's History of Australia: the Musical with a score by George Dreyfus, but its sacrilege was not greatly appreciated. The least Australian tribute came from the Croatian community, which sponsored a concert performance of the opera Nikola Subic Zrinski by Ivan Zajc, a Yugoslavian counterpart of the Verdian risorgimento genre. It was performed by German soloists and a local choir and orchestra under Ivan Cerovac, an impressive conductor born in Zagreb and active in Munich. Slightly more relevant to the festivities was Mozart's La clemenza di Tito, given an excellent concert perform- ance under Christopher Hogwood. This was part of our annual Mostly Mozart series, which also brought fine piano play- ing from Kathryn Selby (a young Aus- tralian now resident in USA). The five operas presented as part of the normal Australian Opera summer season had no relationship to all the historical re- enactments, but late last year the National Opera Workshop, an activity of the Aus- tralian Opera, tried out parts of two local works - Eleanor ofAquitaine by Gillian Whitehead and Gesualdo by Michael Whiticker - and later in 1988 we will see a fully professional production of Brian Howard's new opera Whitsunday; his Kafka-based opera Metamorphosis had great success under Stuart Challender in 1985. Within the last few weeks we had revivals of John Copley's production of Carmen with Elizabeth Campbell and Jolanta Nagajek sharing the title role, Zauberflote with the unusually matter-of- fact, non-magic production by Goran Jarvefelt, The Merry Widow with Joan Sutherland trying to be a cygnet while singing a swan-song, and Salome, with the American Marilyn Zschau brilliant as a Lolita from Galilee. To end on a lighter note of multiple murder, we had an excel- lent production of Sondheim's musical Sweeney Todd: the
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