AE 220
 Bulgarian Operas

Background

Today, the church in Boyana (south of Sofia) is a cultural monument and a UNESCO World Heritage site. In 1242 AD, when Bulgarian territory encompassed the majority of the Balkan Peninsula and Romania, the church was covered with frescos, the most valuable of which are those depicting the two ktitors. In Greek, "ktitor" means the person paying for the erection, embellishment, and furnishing of churches and monasteries. These were usually local leaders or rich merchants. In this particular instance, the ktitors were the despots Kaloyan and his wife Desislava. At the time, despot was quite a high position, second only to the tsar. Kaloyan controlled the western part of Bulgaria, including Sofia, which at the time was an important economic center. He was well known as a patron of art. In contemporary terms, one could say that he demonstrated "good taste" by letting the artist realize his vision for the frescos, although they clearly went against the artistic norms of the time. Through his decision, Kaloyan unwittingly allowed the creation of frescos stylistically years ahead of the Italian tradition thought to have ushered in the Renaissance.

It was usual during that period for builders and artists to remain anonymous, although there are some accounts saying that the Boyana master left his name in the lower corner of the fresco. The novel "Praznik v Boiana" /Celebration in Boyana/ by the famous mid 20th century writer Stojan Zagorchinov tells about the erection of the chapel and its embellishment. He also included a love intrigue the hidden love of the artist towards Kaloyan's wife, Desislava (today, one of the most popular Bulgarian female names).

The composer was one of the most well-known of the so called "modern Bulgarian composers." He also served as the director of the Sofia Philharmonic.

Premier 3 October 1962 - Sofia Opera house.

The opera as playlist

Synopsis

Scene 1

As merchants from far away lands are gathered in front of the newly built church in Boyana, crowds curiously look through the merchandise. Among the people is the young icon painter Iliya who was called from Turnovo to paint the church. A young shepherd is attracted by a colorful whistle in one of the booths. He grabs it and starts playing. The merchant rudely shout at the boy, but Iliya, captivated by the music speaks up for him and pays for the whistle. The people loudly approve the act of the unknown guest.

Boyar guards chase the crowd and merchants away because the noise they make interrupts the service in the nearby chapel. No one is allowed to disturb the Prince at prayers. Alone, Iliya and his apprentice Kitan talk about the work that awaits them. Iliya has been sent by master Dragan just to prepare the walls and to sketch the frescoes, but the young artist has decided to hide that from the Prince and to paint the walls himself.

As the service finishes, the Prince, his wife Desislava and their noble guests come to the new church. Seeing Iliya and Kitan, the boyar Stanoi reminds the Prince that it would be better if the church is painted by Kalistrat from Serdetz. Desislava intercedes and the Prince decides the images of the rulers of Turnovo be drawn by Iliya and the founders' portraits by Kalistrat. At that moment, the rebellious builders who can't stand the inhumane oppression any more rush into the church. They were not paid for building the church and didn't have time to work on their fields and now are doomed to starvation. The guards take the most disobedient to prison.

This cruel scene fills the soul of the young artist with pain and indignation. He tries to defend the peasants, but the proud Prince thinks that the incident is over and invites his guests for dinner. The icon painter has other ways to show his love towards these good people who are doomed to suffering. With this on his mind Iliya steps towards the open doors of the church.

Scene 2

Days later, Iliya is completing the royal portraits. Immersed in thought, he doesn't notice the peasants Tihol and Parvan who brought him candles and eggs for his paints.

The Sredetz master Kalistrat and his apprentice enter the church to draw founders' portraits. The apprentices quarrel, but Iliya calms them by politely, but firmly reminding about the Princes orders: Kalistrat will get the keys only when the royal portraits are fully finished. The newcomers leave outraged and Iliya and Kitan, left alone, ponder the icon painters' fate. They don't notice the hermit Father Gavrail as he joins them. He warns the young artist that its a sin to mix heavenly and the earthly things. The argument is interrupted by Lipa, who came to ask Father Gavrail to help her brother Angel who is in jail again. The hermit warns Iliya for a second time; leaving Iliya confused. At the same time Lipa accuses him of forgetting about their love. In response Iliya shows her the finished picture and Lipa stands breathless in awe in front of it. But Iliya dreams of immortalizing on the wall another beautiful image: Desislava. Lipa is terrified to find out that Iliya is fascinated by her mistress.

Scene 3

In the boyars' house, Desislava dresses for her portrait by the Sredetz master. But she can't bear the thought that her image is not going to be painted by Iliya. Lipa surprises her mistress telling her that the Turnovo master is sketching her portrait over and over again. Desislava sends Lipa to call Iliya. Left alone she recognizes the recklessness of her act, but it is too late. When the artist enters, she hides her embarrassment and haughtily asks him who permitted him to draw her image. But Iliya understands the contradictory feelings that conquered her heart and tries to quickly capture them.

A horn announces Kaloyan's arrival. He is surprised to find the painter at his house; he had thought that his job was done and has already left. Lipa explains that he asked Desislava to allow the painter to do her portrait. Kaloyan sees that the artist drew Desislava just the way he saw her first in Turnovo: proud aristocrat and passionate woman. Delighted by Iliya's craftsmanship, he orders him to paint the whole church, including Desislava's portrait.

Scene 4

Iliya has completed the task except for Desislava's image. He struggles to find the exact expression of her eyes. Exhausted he compares images of the two women who are on his mind: Lipa is bright, healthy and pretty, Desislava is still a mystery to him. Suddenly Kitan rushes into the church and announces that master Dargan has arrived, called by Sredetz painters and the "crime" of the "impostor" is revealed. Iliya locks the door, determined not to let anybody in until he finishes his work. But his candle burns out, he is desperate and tired and this revives the argument with Father Gavrail. The images he created also become alive and start reproaching him. In this nightmare he scarcely manages to recognize Lipa's voice as she brings him a candle. After finishing his work, Iliya falls asleep.

Scene 5

The supporters of the old dogmas persuade Kaloyan to sue the blasphemous painter. Master Dragan, who is deeply touched by the art of his apprentice, forgives him with all his heart. Father Gavrail also stands on Iliya's side when he sees that heavenly and the earthly things are not mixed. Kaloyan forgives the boldness of the young artist.