✭✭✭✩✩

by Ivan Zajc, directed by Dora Ruzdjak Podolski

Opera Mississauga, Living Arts Centre, Mississauga

October 5-11, 2002

"A Croatian Musical Pageant"

A real rarity is currently on offer at the Living Arts Centre.  Opera Mississauga is presenting the North American première of the Croatian opera "Nikola Šubić Zrinjski" (1876) by Ivan Zajc (1838-1914).  To Canadians of Croatian descent and to collectors of rarities the work is self-recommending.  To the average opera-goer the work will seem a curiosity of specific historical and cultural importance that serves as a showcase for some fine singing from members of the Croatian National Opera in Zagreb.

Up until now Opera Mississauga has deliberately concentrated on opera's greatest hits presented with soloists from European (primarily Italian) opera houses in traditional productions.  OM Artistic Director Dwight Bennett, who has an active career in Europe, has seen that the "top ten" lists of operas vary widely from country to country and that works beloved in many countries are seldom or never performed in North America.  With an estimated 60, 000 people of Croatian descent living in southern Ontario, it became a logical move within the OM mandate to programme "Zrinjski", considered in its homeland as the country's national opera.  The Croatian community led by producer Edward Mavrinac rallied behind the production and now it is a reality.  There are plans for the production to tour to Australia, Pittsburgh and other cities with a large Croatian community.

The story concerns the Battle of Siget (now Szeged in Hungary) in 1566 when the Croats led by Nikola Šubić Zrinjski fought to the last man to prevent the forces of the Ottoman Empire under Suleiman the Magnificent from conquering Vienna.  Though all were killed and Siget destroyed, the Turkish forces suffered so many losses that they withdrew.  Chroniclers of the time compared Zrinjski to Leonidas at Thermopylae and subsequent songs, ballads and an epic poem in Hungarian celebrated Zrinjski as the national hero of Croatia. 

Hugo Badalić's libretto for "Zrinjski" is based on the play "Zriny" by German poet Theodor Körner (1791-1813).  Though considered Körner's best play, "Zriny" is static, the characters are icons not true characters, the language of the Croats consists solely of noble sentiments and, strangely for a play about a battle, there are few inherently dramatic scenes.  Unfortunately, Badalic remained far too true to his source so that all these deficiencies make their way into the opera.  As is generally true of highly patriotic works, the opera presupposes an immediate identification with the idealized characters on stage that those outside the group will not feel.  Had Badalic, unlike Körner, shown an interest in the psychology of characters in duress, he might draw a wider audience into their plight.  But whenever a new threat arises, Badalic's characters, like Körner's, immediately and without difficulty sublimate personal feelings to higher goals.  This makes "Zrinjski" feel less like compelling musical theatre and more like an historical pageant set to music.

For his part, Ivan Zajc provides a steady flow of rousing melodies very gratefully written for the voice.  Zajc blends so many influences it is impossible to say who he sounds like but himself, but if I were pressed I would say I was most reminded of the first two acts of Donizetti's "La Favorita" but with tonal colour similar to that in Smetana.  Anglocentric audience members will find his spirited marches very much like Sullivan's.  Indeed, for such grave and potentially gloomy subject matter, Zajc's music remains remarkably cheerful and buoyant throughout.  Dark chromatic clouds may arrive but they are quickly blown away by the tunefulness of Turks' unfounded optimism and the Croats' unfailing heroism. 

When the libretto does present a truly dramatic situation, as in Act 3, Scene 2, when Zrinjski's daughter asks her fiancé to kill her to avoid dishonour in enemy hands, Zajc's music, attaining an almost Verdian weight, rises to the occasion, but the libretto seldom presents such challenges.  Musical highlights include Zrinjski leading the choral oath at the end of Act 1, the oriental-flavoured ballet music in the sultan's harem in Act 2, and in Act 3 the folksong Zrinjski's daughter sings to comfort herself, the dream pantomime of her wedding and Zrinjski's rallying his troops for final battle.

Opera Mississauga has imported seven of the soloists directly from Zagreb.  Baritone Armando Puklavec is clearly right at home in the role of Zrinjski, his full, rounded tone and lofty demeanour well suited to hero portrayed more as a symbol than a man.  Ivica Saric uses his magnificent bass to humanize Zrinjski's opponent, Suleyman.  Miljenka Grdjan, as Zrinjski's daughter Jelena, has a strong, clear soprano that makes her every appearance a pleasure.  Miljenko Đuran, as Jelena's fiancé Juranić, has a tenor of an unusual colour but a achieves burnished ring to his many extended high notes.  Zorica Antonic as Zrinjski's wife Eva uses her warm soprano to blend beautifully in her various duets especially with Grdjan.

Bass baritone Ozren Bilusic has little to do as Jaranić's comrade Alapić.  Sotis Spasevski, playing Suleyman's Jewish doctor, Levi, has a pleasant baritone but seems rather stiff on stage.  The sole disappointment in the cast is Damir Fatovic as Suleyman's vizier Sokolović, who sings indifferently and displays no particular acting skills.

Jane Coryell's sets, consisting of painted flats and wings, gives the works a fairy-tale look suitable for such an idealized view of history.  Ivan Brozic has designed the attractive period costumes, especially gorgeous for Zrinjski, Eva and Suleyman.  Brent Chantler's lighting needs to be more adventurous to create a greater sense of atmosphere.

Croatian director Dora Ruzdjak Podolski is content to move singers into decorative groupings and stock poses rather than attempting an interpretation.  Dwight Bennett and an orchestra composed of members of the COC orchestra and the National Ballet orchestra play with conviction and show the work in the best possible light making the most of Zajc's unusual harmonies and infectious rhythms.  As always Hammerson Hall gives a natural warmth and bloom to voices unlike any other theatre its size in Canada.

Bennett's broadening of the OM mandate to include such works must be applauded.  It seeks to speak directly to groups hitherto unrepresented in the programming of typical North American opera companies.  The enthusiastic reception "Zrinjski" received on opening night shows this broadened mandate does fulfill such a need. Besides, bringing such works to the greater Toronto area can only enrich the cultural life of the region.  Let's hope for more such ventures in the future.

©Christopher Hoile

Note: This review is a Stage Door exclusive.

Photo: Armando Puklavec as Nikola Šubić Zrinjski at the Croatian National Opera.