For everything to end well, for the resistance of the fierce Cecilia to be overcome, and for Sylvia to be able to marry Prince Edwin, despite social differences and all sorts of prejudices, a consistent amount of trickery is required. And as before in comedydell’Arte or in the plays of Moliere and Marivo, and SILVA, Kalman’s famous operetta, first written with a libretto by Jönbach Blah and Stein Leo, adapted by Beckeffi István and Keller Desso, salvation comes from ordinary people. From Miska’s waiter and Cecilia’s jilted ex-boyfriend, Kerekesh Ferko. They plan to reveal the past of the unyielding royal princess Cecilia. They will remind the world of the famous aria Hajmasi Péter, Hajmasi Pál. Miska will ask the audience to help him, connect to the voices of the performers. And everything happens just like that. The audience of the performance in which I participated communicate with the actors of the Theater scream from Oradea. This is done even by the smallest, who may not know all the areas like the elders. More than likely, they didn’t get the once-adored papa Magda as Silvia. Legendary performer Silvia, version of 1955.

Then what else does the chronicler have to say after that? All his critical remarks would certainly be superfluous. Ultimately, what matters is the public’s verdict. Which was unanimously approved. I sat next to a lady of the third age. Who came to the Theater as before. Elegance. Equipped with binoculars. He knew all the arias perfectly. He murmured to them with joy and excitement, as in the days of his youth. I looked at her, followed her with respect and admiration. Isn’t that the joy of theater? What then is the meaning of some words?

Of course, some criticism can also be expressed. Example. Not all setting formulas proposed by Fodor Viola for the three acts of the play are equally inspired. Some of the costumes created by Bayko Blanca Alize did not seem very suitable to me (especially those worn by Prince Edwin), the materials from which they are made are not exactly the best quality. Some are clearly made up from the existing one. Perhaps Edwin’s translator himself (probably Nadja László Zolt, and I say probable because the program has a double distribution and none of those who are obliged by the job description did not do on the day of the review what to do in such cases – in the meantime there was an improvement) it would be appropriate to abandon hair ornaments that are not quite appropriate for the role and the time in which the action takes place Silvia. Otherwise, with few exceptions, Nadja László Zólt, if about him, sings well, plays even better, roughly the same can be said about the interpretation of Silvia. Celes Flora. Young, beautiful, talented. Boni’s translator, a very young Agoston Peter, is undoubtedly a very good translator show a person Maybe at first a little caricature, then everything got better and better, it seemed to me that in the role of Stazi, , Ilyes Klaudia. Excellent, tasty, veterans of the band. Actors with a good track record in operetta and music hall roles. We are talking about Tot Tunde, the nervous princess Lippert-Weilersheim, Dimeni Levente, the wonderful role of Kerekesh Ferko, Kocish Gyula, the absolutely charming role of the waiter Mishka. Dobry Kovacs Levente Jr. as Leopold Maria, Prince of Lippert-Weilersheim. The general, a sort of Confuse the World, is played with aplomb by Kees Chaba. Among the youngest members of the band, I singled out Totos Adam, Skurta David, Tortelli Nadine. Fodor Reka and Balog Attila added the necessary color notes.

Director Novak Ester powerfully managed the entire ensemble. He did not dare to modernism. He wanted to show us and let us see and listen to Kelman’s operetta as it is. He did well, he took advantage of the revolving stage, he set additional artistic challenges to the members of the orchestra under the direction of Hermann Sabolch, and he did the same to the members of the chorus under the direction of Brugos Aniko.. I liked Bobis Laszlo’s choreography. _

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