Page 220 - Weiss, Jernej, ur./ed. 2021. Opereta med obema svetovnima vojnama ▪︎ Operetta between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 5
P. 220
opereta med obema svetovnima vojnama
genres. The same applied for the actors of the drama section who had to
perform in operettas, too. For the latter, however, Drašar was s ystematically
building a soloistic ensemble. He selected actors from other Czech and
Hungarian theatres and, mainly, invited young talented singers from the
Academy of Music and Drama in Bratislava. Under Drašar’s management,
the following prominent Slovak singers were admitted to the Slovak Na-
tional Theatre: Margita Čésanyiová, Štefan Hoza, Mária Kišonová-Hubová,
František Krištof Veselý, and Štefan Munk. Despite their ambition to per-
form opera, these young graduates sang mainly operettas.
Tenorist Štefan Hoza, who had joined the theatre in 1932, recalled the
situation and the environment in which the young singers found them-
selves upon joining the Slovak National Theatre, and gave some informa-
tion also about their engagement in operettas that followed from the terms
and conditions of their employment contract:
Theatre attendance called for premiere after premiere. If a classi
cal operetta was repeated 10 times, it was a success. Each member
had to compulsorily perform in all the shows, be it drama, operetta,
opera, ballet, pantomime, revue, narrative plays, outdoor shows,
matinées, night shows, or any other event throughout the Czecho
slovak Republic organised by the Slovak National Theatre. The con
tract also stated that: ‘The member is engaged from 15 August 19 ...
for a period of one year. Each member is entitled to a 14-day holi
day of paid leave. If the holiday lasts for six weeks or two months,
the member of the Slovak National Theatre receives 75% of his sala
ry for the entire period of the holiday. The holiday is determined by
the director. The working hours consist of rehearsals and shows. The
duration of the rehearsals – on days when the member performs
– must not exceed five hours and must not last longer than un
til 4 pm. On days when the member has no show, he shall rehearse
for eight hours and even in the evening. If rehearsals are necessary
due to a sudden change in the repertoire or for some other reason,
the member shall rehearse even on Sundays. The management re
serves the right to change the casting. A member who rejects the as
signed role or refuses to perform in any show, may be immediately
dismissed and loses all his right to a salary. In each case, the man
agement has the right to demand a penalty amounting to the mem
ber’s annual salary.’17
17 Štefan Hoza, “Naše operetné začiatky,” Hudobný život 3, no. 23 (1971): 3.
218
genres. The same applied for the actors of the drama section who had to
perform in operettas, too. For the latter, however, Drašar was s ystematically
building a soloistic ensemble. He selected actors from other Czech and
Hungarian theatres and, mainly, invited young talented singers from the
Academy of Music and Drama in Bratislava. Under Drašar’s management,
the following prominent Slovak singers were admitted to the Slovak Na-
tional Theatre: Margita Čésanyiová, Štefan Hoza, Mária Kišonová-Hubová,
František Krištof Veselý, and Štefan Munk. Despite their ambition to per-
form opera, these young graduates sang mainly operettas.
Tenorist Štefan Hoza, who had joined the theatre in 1932, recalled the
situation and the environment in which the young singers found them-
selves upon joining the Slovak National Theatre, and gave some informa-
tion also about their engagement in operettas that followed from the terms
and conditions of their employment contract:
Theatre attendance called for premiere after premiere. If a classi
cal operetta was repeated 10 times, it was a success. Each member
had to compulsorily perform in all the shows, be it drama, operetta,
opera, ballet, pantomime, revue, narrative plays, outdoor shows,
matinées, night shows, or any other event throughout the Czecho
slovak Republic organised by the Slovak National Theatre. The con
tract also stated that: ‘The member is engaged from 15 August 19 ...
for a period of one year. Each member is entitled to a 14-day holi
day of paid leave. If the holiday lasts for six weeks or two months,
the member of the Slovak National Theatre receives 75% of his sala
ry for the entire period of the holiday. The holiday is determined by
the director. The working hours consist of rehearsals and shows. The
duration of the rehearsals – on days when the member performs
– must not exceed five hours and must not last longer than un
til 4 pm. On days when the member has no show, he shall rehearse
for eight hours and even in the evening. If rehearsals are necessary
due to a sudden change in the repertoire or for some other reason,
the member shall rehearse even on Sundays. The management re
serves the right to change the casting. A member who rejects the as
signed role or refuses to perform in any show, may be immediately
dismissed and loses all his right to a salary. In each case, the man
agement has the right to demand a penalty amounting to the mem
ber’s annual salary.’17
17 Štefan Hoza, “Naše operetné začiatky,” Hudobný život 3, no. 23 (1971): 3.
218
