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CNAA / Theses / 2009 / July /

The Apearance and Evolution of the Opera Theatre in Moldova. Performers and Performances (1918-2000)

Author: Dănilă Aurelian
Degree:doctor habilitat of history and Theory of Arts, Cultorology
Speciality: 17.00.01 - Audio-visual Arts (with specification: Theatrical Art; Musical Art; Cinematography, TV and other form of Audio-Visual Arts)
Scientific council:


The thesis was presented on the 27 July, 2009
Approved by NCAA on the 1 October, 2009


Adobe PDF document0.41 Mb / in romanian


Actor, Aria, Arioso, Applaud, Actress, Aplaud, Act, Bass, Bariton, Be on tour, Composer, Chorus, Conductor, Criticizm, Drama, Forte, First night, Group, Image, Mezzo-soprano, Opera, Orchestra, Operetta, Production, Prima, Partner, Performance, Piano, Producer, Quartet, Rehearsal, Repetoire, Singer, Subject, Scene, Soprano, Success, Theatre, Tenor, Voise


Thesis for a Doctor’s degree „The Apearance and Evolution of the Opera Theatre in Moldova. Performers and Performances (1918-2000)” is a synthesis of the basarabean Opera phenomenon and, further, of the moldavian one from the historical point of view of the way passed for the period of over than eighty years. The author decided to make an analisys of the ideas, goals and phenomenons, having the purpose to overcome the level of stating only the facts or simple cronological.

It certainly can be stated that our national Opera truly was a complex phenomenon that, even though, wasn’t able to avoid moments of crisis, had enough interior reserves to mobilize and consolidate itself giving to the european and even international lyric stage artistic figures of a great value appreciated by countries with rich traditions in the field.

It is important to say that in our country the lyric theatre as a phenomenon (and here we include the dedicated audience that always knew to appreciate artists) showed from the very begining a great sensibility and openness to the fascinating world of opera. This way, it was passed over rather guickly the initial stage of excessive admiration towards the foreign troupes that were coming in tours to Chisinau. In a short while, the local animators of the cultural life demonstrated that our musical sensibility doesn’t limit only with the folk music field – very important, of course, but not enough to speak about people with a modern musical civilisation.

At the same time with the tries of setting up fragments or even entire operas, more adjustable, the founders of the basarabean lyric stage set up training projects for the native staff for canto. It was a difficult process, but clearly orientated for a final goal – that of the institutionalization of the phenomenon and the creation of a stable Lyric, with an immunity in time. This way, during the years, appear (but un fortunately also disappear having different longetivities) a number of communities, trends, and institutions with the help of which appeared national Opera: Basarabean Opera Society, Basarabean Opera, Society of the opera artists, Studio movement, Conservatoire „Unirea” etc.

In these surroundings appeared great personalities of the lyric stage that were the proud of the basarabean Opera and were applauded on the biggest stages of the world: Maria Cebotari, Lidia Lipcovscaia, Eugenia Lucezarscaia, Valentina Cuza, Alexandru Antonovschi, Giacomo Borelli, Nicolae Nagacevschi, Anastasia Dicescu etc.

It occures that the name of Maria Cebotari is the best known to the audience, but it is proper to say that Lidia Lipcovscaia isn’t less important. From here we can drow the conclusion that researchers of the musical life, especially of the basarabean period, must value the great artistic potential that wasn’t appreciated to the real capacity.

Passing through time, our opera went through different periods of her development. A specific stage interferes in 1940, at the same time with the join of Basarabia with the U.R.S.S. and the formation of the R.S.S. Moldovenesti. It was a period of idealisation of the art, culture and moldavian literature that harmed a lot and stopped the free development of the creation for many years ahead.

In the general context of the discreditations, moldavian Opera was affected by the socialist realism, dogmatism and careeristm of the party heads and unfortunately of the some culture militants. It is important the fact that, even when they were obliged to stage performances with a politic colour, the lyric artists had astonishing performances, succeeding to show the value of music and to hide in a way the effect of the dramatic slogan.

It is important to state that even though they activated inside of an ideological and repressive regime, that was absolutely different from the one of their ancestors, moldavian artists kept the basarabean opera protecting and developing all the best of it. There appeared a new generation of endowed performers that were very appreciated inside of the country as well as outside of it. Besides the fact that there appeared great performers there also appeared conductors, stage managers, composers of a big value. This way the star of the stage, Maria Biesu, has been glowing more and more in the last decades due to the colaboration with the conductor Alexandru Samoila and with the stage managers Eugen Platon and Eleonora Constantinova. Without taking into consideration the negative points mentioned above, we can state that until 1990 moldavian lyric Theatre has consolidated and was considered to be one of the best 5 – 6 from the U.R.S.S. After the sovietic empire was shattered, during the last decade of the last century, moldavian Opera Theatre passed through a difficult period of searching a new identity, and financial problems. It can be observed a clear orientation towards the foreign performances and as a result a substantial reduction of the numbers of the premieres. We consider that the Lyric from Chisinau did that consciously for the material reason of a long period income, this being the only possibility to survive. There is no doubt that the theatre, in which was invested so much soul, talent, intelligence, sacrifice and history will pass over this difficult period from its history too, re-entering the artistic stage life with a new power.