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Moldovan National Opera in International Cultural community


Author: Şeican Valeria
Degree:doctor 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)
Year:2009
Scientific adviser: Elena Mironenco
doctor habilitat, professor, Academy of Music of the Theatre and Fine Arts
Institution:
Scientific council:

Status

The thesis was presented on the 28 August, 2009
Approved by NCAA on the 17 December, 2009

Abstract

Adobe PDF document – 0.33 Mb / in romanian

Keywords

performing, bell canto, singing, international circuit of culture, cultural collaboration, communication, conductor, artistic consiglium, artistic delegation, european integration, management, marketing, staging, production, opera, repertory politics, director, producer, opera house, tour, days of culture

Summary

In the Republic of Moldova, as well as in the most of the European countries, the “Opera and Ballet Theater” represents a higher level realization of the spiritual embodiment of the national essence. Noticing the frequent changes of the official name of the institution we can establish a report between the spiritual and political life in Moldova, report which had a direct influence upon the existence of the theater. The names were as follows: 1919- “Basarabian Opera”, 1940- Moldovan State Opera, Ballet and Drama Theater “A.S. Puskin”, 1957- Moldovan State Opera and Ballet Theater “A.S. Puskin”, 1982 – Moldovan State Academic Opera and Ballet Theater „A.S.Puskin”, 1992- National Opera House of the Republic of Moldova, 2001- National Opera and Ballet Theater of the Republic of Moldova.

This research was based on a classical tripartite form with introduction and conclusion. Throughout the investigation, along with the multiple aspects of the problem, the main subject of the discussion is the international collaboration of the Moldovan Theater.

In the first chapter, which covers the period of time between 1957 and 1970, the idea of the international collaboration is presented through the prism of a certain epoch, showing the spreading and implementation of an universal and indisputable message, mandatory to be accepted as a dogma by more than 250 million people, citizens of a closed space, having specific communication principals.

Unlimited funds were allocated towards collaboration on different levels among the member states: “days of culture”, artistic delegations, state competitions and festivals, symposiums, conferences, workshops, pupil, students and teachers’ exchange, master-classes (in the most important cities- Moscow, Leningrad, Kiev), assured work places.

Having passed the “entrance exams into the big, lyric Soviet family” the Moldovan Theater becomes a reference subject and opens a door towards communication with similar institutions within the Soviet space, as well as within the socialist one. This was the period of accumulation of the repertoire, widening it to tens of Opera and Ballet titles. The foundation of the bases of the national vocal school occurred simultaneously, culminating with the brilliant performance of Maria Biesu in Tokyo, Japan, at the International Competition of lyric performers dedicated to Miura Tamaki, where she was declared the best Cio-Cio-San of the world.

The second chapter investigates the accumulation of professional dexterity and skillfulness which later allowed the assertion in the world lyric circuit. The emphasis was made on works by Verdi, Tchaikovsky, Puccini, Donizetti, Belinni. The third chapter analyses the impressive improvement of the relations between the Moldovan Theater and similar institutions in Europe and Asia.

In 1991 the political climate in Moldova has changed. The democratic values having been placed as the foundation of the society an important role was given to the communication, which has a special mission in a democratic society. All the definitions given to the human communication, regardless of the philosophical movements they belong to, have at least the following common ideas: communication is the process of transmitting information, ideas, opinions, points of view, ether from one person to another, or from a group to another; no activity, starting with simple daily activities and ending with complex activities at the level of organizations, societies and cultures, can be conceived without the process of communication.

In the present research the notion of collaboration itself was treated with the meaning of communication with similar institutions from abroad. Communication is an important detail of the evolutionary element of the human existence and in the functioning of any social process, especially the spiritual ones, the notion of communication having a completing relation with the one of managerial efficiency, considering that both of them start by analyzing the ways in which the general climate where the communication occurs influences the organizational efficiency. The attempts have been made to understand why the efficient communication is essential for obtaining a common vision upon the organizational objectives and how important is to understand which are the informational needs we, along with other similar social constructions, have.

In a world where new technologies become more and more important the notion of information, and especially communication, achieves much wider possibilities, forms and regulations. Obviously, these changes could not occur without influencing the most sensible field of spiritual communication, the universal musical language. The actuality of the musical language used by composers of the Classical, Romantic and even Baroque epochs proves the truthfulness of the assertion that music is the art of the future.

In the current situation where we have a unique system of global communication the idea of globalization often risks to erase the identity of each nation which makes part of this complex interactive system. In these conditions the problem of national art becomes very sharp as the national pieces of art receive less attention and are no longer the subject of investigation, research and inspiration for the modern creators. But the idea a nation or culture makes about the concept of finality which enlightens their values and goals in life remains decisive.