RITAM GRADA / RHYTHM OF THE CITY
FROM MY ANGLE: DRAGOLJUB BAJIĆ, OPERA MANAGER AT THE NATIONAL THEATRE Opera is an inextricable part of Belgrade The opera has immeasurable
ers that would be more intimate and somehow clos- er to the audience, whilst also being harmonised with the epidemiological situation and COVID prevention measures. In the same way, we will prepare and real- ise children's operas, which I believe both parents and children will love to watch. The Belgrade Opera’s rep- ertoire currently includes over 40 titles. And there are few others in the region and beyond that can boast of such a volume of shows that are current and are per- formed throughout the season. Guest performances We opened the season with guests from Roma- nia, hosting the conductor Sandu and baritone Ionut Pascu. The Belgrade Opera recalls the most famous names in the field of classical music. I have performed with many of them, and have also met many impor- tant world greats. Luciano Pavarotti sang La Traviata in 1961; Mario del Monaco performed in 1960, 1970 and 1971, in the operas Othello, Norma, Carmen and Pagliacci; Placido Domingo performed twice in 1972, in Tosca and Carmen, while we were visited twice dur- ing the last century by Franco Corelli and Giuseppe Di Stefano. In 1969, Anna Moffo sang La Traviata, Elena Obraztsova performed in Carmen and Cavalleria rusti- cana, and Bonaldo Giaiotti was a guest of ours as many as four times… There have really been many greats, it’s impossible to count them all. Belgrade The history of opera in our country has been in- scribed by our celebrated names from the second half
I ’ve been the manager of the opera ensemble of the National Theatre in Belgrade since Septem- ber. I also had the honour and responsibility of continuing to nurture the long tradition of the best of the best in the domestic opera reperto- ire during the pandemic, while simultaneously pre- serving the memories of the many doyens who gave their premiere performances on the very opera sta- ge of the National Theatre. The Opera at the National Theatre has spent more than a century developing, perfecting and giving itself to its numerous visitors. Plans Alongside the major titles that are planned, in the coming days we will develop premieres of smaller for- mats, musical shows with a smaller number of perform- importance to the capital. It is a place of culture and exchange where art and music come to life, and which desires to address universal topics through emotions and timeless works
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