The Wedding and Death of Miloš Obilić: From Тhe Fairy’s Veil to Тhe Fatherland

Опере Петра Коњовића представљају његову отаџбину и његов духовни спектар: на првом месту, неизбрисиве успомене из детињства и младости, усмерене на новосадско Српско народно позориште и углавном његов херојски српски репертоар. Из њега су потекле три Коњовићеве музичке драме везане уједно и за еп и за позоришне комаде. Поред Смрти Мајке Југовића Ива Војновића, то су још књижевна дела за сцену Драгутина Илића (Женидба Милоша Обилића) и Лазе Костића (Максим Црнојевић), па се и због тога могу те условно речено опере замислити као да су у много чему сродне, не само по садржају већ и по музици и по временима када су настајале. Вилин вео односно Женидба Милошева за време Великог рата, Отаџбина за време Другог светског рата, са Кнезом од Зете међу њима. На једној од стваралачких етапа друга опера Петра Коњовића била је посматрана као синтеза његовог уметничког рада. Синтеза је била нова са следећом опером, Коштаном, што се може потврдити и са Отаџбином, на последњој композиторовој креативној инстанци.Порука коју носе историјске опере Петра Коњовића је подсећање Срба на њихове корене, о којима сведочи бесмртна народна поезија кроз јединствени по својој лепоти, Косовски циклус.The prominent Serbian and Yugoslav composer Petar Konjović (1883–1970) wrote five operas between 1900 and 1960. Konjović’s operatic opus represents his homeland and his spiritual spectrum: in the first place, indelible memories of his childhood and youth focused on the Serbian National Theatre in Novi Sad, in particular its heroic repertoire of Serbian literature. Consequently, three out of five of Konjović’s music dramas are derived from Serbian epic and theatre plays. In addition to Ivo Vojnović’s Death of the Jugović Mother, these are Dragutin Ilić’s Wedding ofMiloš Obilić and LazaKostić’s Maksim Crnojević. Therefore three of Konjović’s operas can be conditionally brought together as being in many ways related, not only by their content but also by music and the scope of time they were created: The Fairy’s Veil (based on Wedding of Miloš Obilić)during World War I, The Fatherland (based on Death of the Jugović Mother)during World War II, and between them ThePrince of Zeta (based on Maksim Crnojević). The last of them, subtitled “A sacred festival drama” (following with its subtitle the idea of Wagner’s Parsifal) had its gala performance in Belgrade National Theatre on 19 October 1983. The structure of the musical composition was inspired by the “Kosovo mystery play” by Vojnović (1857–1929), an outstanding dramatist from Dubrovnik. In this case, the playwright was a narrator of the historical-legendary past of the Serbs. Drawing on Serbian national epic poetry which deals with the downfall of the Serbian medieval empire caused by the Turkish invasion, Vojnović constructed his play on the basis of the central poem of the epic cycle about Kosovo, The Death of the Jugović Mother. Both the epic and Vojnović’s play present the tragedy of Serbian people in the figure of the Mother. She dies with a broken heart after the loss of her heroic husband, Jug-Bogdan, and her nine sons, the Jugovići, in the decisive battle against the Turks in the Kosovo field in 1389. Vojnović’s play was performed in Belgrade and Zagreb in 1906 and 1907 respectively, as well as in Trieste (1911) and Prague (1926); and several Serbian and Croatian composers wrote incidental music for it. Slovenian composer Mirko Polič was also inspired by it and his work was performed in Ljubljana in 1947, while Konjović’s “festival drama” finished in 1960 was staged much later. Its premiere in 1983 was scrupulously prepared by the father-son duo, Dušan Miladinović (conductor) and Dejan Miladinović (director), who paid special attention to the visual aspect of the performance. The director, together with the scenographer Aleksandar Zlatović created for The Fatherland a semi-permanent set of symbolical characters, with an enormous raven, made of jute, replacing the backdrop. The costume designer was influenced by medieval frescoes from Serbian monasteries in Kosovo. The director himself conceived a “mute” and motionless appearance of figures of Serbian warriors in “tableaux vivants” by placing them in attitudes of combat on the edge of the revolving stage during the curtain music between the acts. What the composer Konjović aimed for with his last music drama was to eternalize in music the beautiful Serbian epic, depicting the tragic history of his people and thus reminding Serbs of their roots. In this sense The Fatherland was Konjović’s Ninth Symphony and his oath of Kosovo