- The Sofia Opera and Plamen Kartalov won the battle for high art under the stars in front of St. Alexander Nevsky Cathedral
REPORTER'S CHRONICLES – SOFIA – JULY 14 –
By IVAN VARBANOV
This year, the “Opera in the Square” format overcame a lack of funds and budget constraints.
And now we can say—the Sofia Opera and Plamen Kartalov have won the battle!
In the heart of the capital, in front of the gates of the Patriarchal Cathedral of St. Alexander Nevsky, where the infrastructure of an entire open-air opera theater—a branch of the National Opera—has been built, all the performances in the program are taking place. The audience has shown tremendous interest, welcoming the performances with curiosity, joy, and admiration.
These aren’t just superlatives or promotional slogans here (this isn’t a paid article)—it’s the absolute truth. The Sofia Opera posts people’s reactions after the performances on its Facebook page. And they speak very warmly about their enthusiasm for what they’ve seen.
And I think to myself, it couldn’t be any other way.
The prerequisites are in place: guaranteed top quality; the participation of the leading soloists from our national opera stage; add to that the appearance of high-caliber foreign soloists; world-class professionalism; top-tier organization and production technology; an astonishing creative vision; the cathedral’s unique energy, blended with the aura and pulse of Sofia’s heart. There you have the formula for success.
The audience, seated on specially constructed stands beneath the stars, enjoys a direct connection to the otherworldly musical art that comes from the cosmos and remains in eternity.
Music composed a century ago, which resounds now, at this very moment, but will endure long after we are gone, won’t it? This is the power and magic of this art form—one that speaks the universal language of harmony, rhythm, and melody. The uniqueness of opera lies in its timelessness, in its loftiness, in its ability to serve as a portal and a bridge to other worlds, thanks to the boundless power, emotion, and impact of the synthesis of theater, dance, vibration, perceptions, and the manifestation of the astonishing, boundless beauty of the human voice.
And this is exactly the place to mention: the soloists of the Sofia Opera perform in the “Opera in the Square” format before the audience WITHOUT MICROPHONES. In an acoustic environment that the team at our National Opera Theater has achieved and perfected in the open space of the square.
I have always been outraged by the use of microphones in classical music performances at other theaters, especially when there is no need for them—either genre-wise or stylistically. Because microphones often become a double-edged sword —supposedly helping singers who need their voices amplified so they can be heard and cut through the orchestral wall, but often it is precisely the microphones that can distort a voice, flatten it, falsify it, or present it on a false scale.
But let me emphasize this strongly: the audience should take note that the outstanding SINGERS of the Sofia Opera, in the “Opera in the Square” format, SING WITHOUT MICROPHONES. A round of applause for that!—for them and for the team that has mastered the art of providing the necessary acoustic space and environment.
That’s why you’re No. 1, colleagues!
To the overall experience that the audience will enjoy, let me add a few more highlights: a unique visual feast, a monumental spectacle, spectacular costumes and set design, and stories that still move and touch us today.
The first three performances of “Rural Honor” and “The Arsonists” have already taken place. The next two are coming up—on July 15 and 17.
Next up is a series of five performances of “Mamma Mia!”—at the end of the month. “The Hermit of Rila” is on August 1, and on August 9, there will be a grand finale with “Turandot.”
Whether there will be more funding in the budget for culture and for the opera—that remains to be seen. But it is a fact that the Sofia Opera team never stops and works tirelessly. They are working to secure their revenue and earn the funds necessary for the dignified and elite operation of our premier opera house. No compromises, no half-measures, no deviation from the highest professional and aesthetic standards. Their tireless work yields results and deserves our respect!
Let’s note one more important thing: the audience at “Opera in the Square” is extremely diverse in terms of age, motivations, and aesthetic preferences. This event brings together not only traditional connoisseurs with a thirst for high art—such as the audience at Wagner festivals—but also people who rarely or never set foot inside the opera hall at the Sofia Opera and Ballet. Attracting them is precisely one of the strategic goals that Plamen Kartalov says he has set for himself. The aim is for the open-air format to serve as a magnet and a gateway to the Sofia Opera House—and to the world of grand opera—that will draw in new admirers, new friends, and new audiences. And after their enthusiasm for what they’ve seen in the square, they themselves will want to see more and more of the National Opera’s productions. This is the path to turning these new audience members into lifelong admirers of the great art of opera.
This task is part of the Sofia Opera’s strategic management, which is being carried out brilliantly. It fulfills its tasks and functions with a focus on educating and attracting new audiences.
I would like to highlight a few more fundamental functions and roles of the “Opera in the Square” festival that our authorities should recognize and understand, so that there are no questions or doubts regarding the provision of funds and resources for the Sofia Opera’s productions: visionary leadership, education, contributions to the development of Bulgarian culture and society, upholding traditions, and preserving Bulgarian art and culture. All of these lofty goals and the mission set forth in the Law on the Protection and Development of Bulgarian Culture have been put into practice.
The festival program is on the Sofia Opera’s website; I’m not sure if tickets are still available. I’m eagerly looking forward to the performance of the two one-act operas, *Rural Honor* and *Palyachi*, conducted by Daniel Oren on July 15.
And then, at the end of the month, I’ll catch one of the performances of “Mamma Mia!” to recharge with summer energy and a sunny mood from ABBA’s hits. Because I’ve already seen how the show brings people together, singing the familiar melodies in unison—and that creates a sense of shared joy, which in turn makes the experience of this musical more than just a performance, and is certainly a cheerful leap toward the hot summer and vacation that lie ahead for all of us.
Let me add one final thing: when you go to see performances at the Sofia Opera and Ballet’s main square, you’ll pass by the bust of the colossal, legendary Bulgarian bass Boris Christoff. Stop for a moment, pay your respects, and leave a flower. Because Boris Christoff’s genius remains timeless and will forever be a benchmark of greatness in the world of classical music. Certainly, the ever-changing world, no matter how much it transforms, will remain captivated by the majestic tolling of the bells of “Alexander Nevsky” and the deep, earth-shaking bass of the phenomenal Boris Christoff—two symbols, two beacons that, even when we are no longer in this world, will continue to remind future generations of the power of Bulgarian talent and the immortality of art, which endures for eternity. Along with the seminal and colossal contribution of the Sofia Opera and Ballet, which transformed Bulgaria into a global powerhouse in the art of opera.
Ivan Varbanov, Bulgaria - Sofia
The News BG Reporter
PRESS BG NEWS AGENCY
The News BG Reporter
PRESS BG NEWS AGENCY
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