This opera was performed in the 19th century only in Zagreb houses, and after 200 years it enters the theater for the first time.

The fourth Zagreb Opera Festival, held from September 11 to 20, 2026, marked a historic return of two long-unseen operas to the city’s stage. “Talijanka u Alžiru” and “Lakmé,” both written by composers who were also renowned performers, had previously been performed exclusively in private homes in Zagreb during the 19th century before making their debut in a public theater setting after over two centuries. The festival, which has become a cornerstone of Croatian opera culture, opened with Verdi’s “Aida” in a co-production involving the HNK Zagreb, Teatro Massimo in Palermo, and the Csokonai National Theatre in Debrecen. This year, the festival expanded its reach, taking place simultaneously on three stages: the main venue in the historic building, HNK2, and the foyer area. The festival attracted more than 10,000 visitors this year, continuing the tradition established in previous editions, which have drawn over 20,000 attendees. The event showcased a diverse array of international productions, including works from Polish, Spanish, and French opera houses. Among these was the Polish Royal Opera performing Rossini’s “Talijanka u Alžiru” on September 14, while the Hrvatski barokni ansambl and Cantoría from Spain presented John Blow’s “Venera i Adona.” On September 17, the Slovenian National Theatre Maribor brought Lea Delibés’ “Lakmé” to the stage, a production that had last appeared at the Zagreb National Theatre in 1940. Both operas hold special historical significance, “Talijanka u Alžiru” had not been staged in Zagreb since the early 19th century, while “Lakmé” was last performed in the city in the mid-20th century. The festival concluded with a grand gala concert on September 20, featuring internationally acclaimed singers such as Piotr Beczał and Marigona Qerkezi, along with soloists and the orchestra of the HNK. Conducted by maestro Pier Giorgio Morandini, the performance highlighted the collaborative spirit of the festival, which aims to bring together artists from around the world. Several Croatian artists played key roles in these productions, including Dawid Runtz, who conducted “Talijanka u Alžiru,” and Pier Francesco Maestrini, who directed the upcoming season’s “Rigoletto” and will also oversee Bizet’s “Carmen.” Historical records indicate that “Talijanka u Alžiru,” composed by Rossini, was once a staple of private performances in Zagreb’s salons, particularly among the aristocracy and wealthy German families in the 1930s. These intimate gatherings often featured excerpts from operas, translated into German, and attended by select audiences. Similarly, “Lakmé,” known for its iconic “Duet of Flowers,” had not been performed publicly in Zagreb since the early 20th century. A recent monograph published by Školska knjiga and other historical sources confirm that the opera was last staged at the HNK in 1940, with Maja de Strozzi singing the lead role under the direction of Milan Sachs, one of the early conductors of the Zagreb National Theatre. The Zagreb Opera Festival has consistently served as a platform for international collaboration and cultural exchange. Its organizers emphasize that the festival not only introduces new repertoire to local audiences but also fosters deeper connections between Croatian and European artistic traditions. By bringing together top-tier productions from across Europe, the festival enriches Zagreb’s cultural landscape and offers residents the opportunity to experience diverse artistic styles without leaving the city. The success of past festivals, combined with the continued growth of attendance, underscores the enduring appeal of this annual event.