In the 18 th century, especially after the Hapsburg Empire had conquered Banat , Timisoara compelled recognition as a prosperous, cosmopolitan town, whose ascension could be recognized both on the economic aspect and on the spiritual one.

Starting with the first half of the 18 th century, theatre troupes were formed whose repertory of various musical pieces included also the classic ones. Their activity was to take place on the background of a secular and religious life that changed Timisoara into a "little Vienna ".

In 1761, the Serbian Town Hall was built and it sheltered the first theatre in Timisoara . Here the performances of a German troupe were presented starting with 1776. The lyrical theatre performances were to become regular only after 1784. In the following year, the theatre was granted to Xaver Francise Runner's company, whose first great success, The Magic Flute by Mozart, came only five years after the Viennese first night.

Starting with 1840, the performances were organized in autumn and summer seasons. In the first half of the 19 th century, troupes from Germany , Hungary , Italy and Transylvania performed over 50 operas for the audience in Timisoara . Most of them are part of the lyrical repertories even today, some staged only few years after their premiere. Works by composers from Timisoara were also performed: Die Alpenhutte by Franz Limmer, Die Schweitzer Familie or Adelma by Henrik Weidt.

In 1872, the building of a new theatre started. It was to be named after Emperor Franz Josef and its inauguration took place on September 15 th 1875 . Ten years later, the electric lighting was introduced in the building.

The greatest event of the end of the century was Bruno Walter's employment in Paul Manuel's troupe. Bruno Walter was a 22-year old conductor who raised the opera performances in Timisoara to a high artistic level. Up to 1899, the German theatre played the chief role in the cultural life of the town. It was closed as a result of an order from Budapest , and it was the time for the Hungarian theatre to stimulate the theatrical life.

In the fall of 1920, the theatre was granted to the Romanian operetta troupe directed by Maximilian and Leonard. Unfortunately, a fire interrupted the artistic activity on this stage for eight years.

In 1919, after the Great Union, the Romanian Opera was founded in Cluj and it was considered the musical and theatrical institution of Transylvania and Banat .

During the inter-war period, the Town Hall in Timisoara resorted to subvention and brought, for two seasons, the staff from Cluj . This institution offered the music lovers in Timisoara performances at a high artistic level. Since 1939, ASTRA from Banat has subsidised the theatrical seasons and become the co-coordinator of all the theatrical representations in Timisoara and in the other localities of this area.

After the Vienna dictate, in the fall of 1940, The Romanian Opera in Cluj , together with The National Theatre and The Academy of Music, took refuge in Timisoara .

Under Sabin Dragoi's rule, in spite of the difficult situation caused by the war, several micro seasons were organized at Arad and several tours, alongside with the performances in the main building. During the five years of refuge, the Romanian Opera Cluj - Timisoara became a vivid and more than necessary presence within the town's cultural framework.

In 1946, the national reintegration made it possible for this institution to return to Cluj , in the same year, at several musician's initiative, a Lyrical Theatre was founded which replaced, for a seasons, the Romanian Opera from Cluj .

Following numerous approaches, on March 30 th 1946 , trough the decree 254, the Romanian Opera in Timisoara was founded. The first artistically nucleus was founded. The first artistically nucleus was formed until November 15: Aca de Barbu, manager and director, Gheorghe Pavel, prime conductor, Hermann Klee, chorus maestro and conductor, Mercedes Pavelici, ballet-master , soloists, chorus singer and instrumentalists, some of them ex-employees of the Opera in Cluj .

The inauguration took place on April 27 th 1947 . Members of the government, including the Prime Minister Petru Groza, came to see the premiere, Aida by Verdi. The opera hall was crowded and thousands of people could listen to it at megaphones.

The idea of educating a new audience and of eradicating the so-called "decadent art" hindered the normal path of the artistically activities. Works of universal value were criticized, even categorized as "mediocre" and "reactionary", and unacceptable solutions were imposed on Aca de Barbu, the Opera manager.

Nevertheless, the presence and the appreciation of the audience rewarded the artists', technicians' and workers' effort, as they all contributed to exquisite performances.

Until 1954, when Aca de Barbu was forced to resign, 16 opera performances of the world repertory were staged: Italian, German, French, Russian, Czech, one Chinese and one Romanian, 6 operettas and 10 ballet performances, of which two Romanian, no less than 34 premieres in 8 seasons. Over 1,300 performances were presented, some of them particularly appreciated by soloists and conductors from abroad.

Starting with 1952, The Opera in Timisoara held a series of performances in several other towns: Lugoj, Bocsa, Resita , Arad , Oradea , part of them grouped in micro seasons. The first tour in the country was organized in 1953 and it brought the staff the occasion to distinguish themselves on the national scale.

The following period, when Francisc Kadar ruled the staff, was a period of "new efforts and fulfillments". Until the fall of 1963, with the help of other Romanian and foreign collaborators, 20 operas, 5 operettas and 9 ballet performances were staged, of which 10 belonged to the Romanian repertory, in order to promote original creations.

A number of performances of this repertory benefited by the exquisite presence of guests from the country and from abroad: Nicola e Herlea, David Ohanesian, Arta Florescu, Zenaida Pally, Petre Stefanescu Goanga. All of them, alongside with the artists from Timisoara , raised the artistically level of the performances. Renewed artists from abroad, such as Filipovici Kricevnia, Melania Bugarinovici, Gloria Lind or Irina Arhipova spoke highly of our singers and offered the audience unforgettable moments.

The most significant events of this period were the 10 th anniversary of the Opera of Timisoara, in 1957. A number of performances were presented that proved the true value and the experience accumulated during the first decade of activity.

The anniversary also represented the right moment to evaluate the activity of the institution: 42 premieres in 2,174 performances, of which 1,931 presented in the central building, while the number of the spectators increased to 1,200,000.

Most valuable artistically staffs were made up, and the two departments, the chorus and the orchestra, improved in the course of time, their performances rising to an unquestionable professionalism.

For the audience that became constant, opera and operetta shows were presented, some of them exceeding 100 performances, in the ten seasons were very popular with the audience.

The Romanian Opera in Timisoara never ceased to be the messenger of the lyrical theatre art, both the audiences in Resita and the one in Arad enjoying the usual micro seasons. Tours in the country were organized as well.

In June 1963, Nicola e Boboc was appointed manager of this institution. He was a conductor, composer, musicologist, and a man of distinguished culture, whose management of the Opera lasted the longest period of time. He had the opportunity to be appointed at the time when the Opera had a number of experienced artists, on whose professionalism he could rely. It was therefore possible to apply a new reportorial strategy and to add new names in the fine record of this institution.

During the 11 seasons under Nicola e Boboc's management, 46 new premieres were staged: 26 operas, 7 operettas and 13 ballet performances. Works from other epochs or styles, such as German operas by Mozart or Wagner, either premieres or revivals or older Italian pieces refreshed the repertory. Creations of the new composers, both Romanian and foreigners, were also staged. At the same time, certain equilibrium was maintained in what concerned the lyrical theatre genres, in order to please all the music lover's tasted. In this period, the ballet started to flourish. Classical performances were staged and the Chore Studio compelled recognition for the modern ballet in the Romanian choreography.

For a high artistically value of the performances, collaborators from abroad were used: directors, stenographers, choreographers, both from the country and from abroad, such as Pierre Medecin from Paris or Ulrich Baumgartner from Vienna .

Numerous performances benefited by the presence of renowned Romanian or foreign singers. Besides Ludovic Spiess, Zenaida Pally, Nicola e Herlea, new names appeared on the advertising posters in Timisoara : Ion Dacian, Teodora Lucaciu, Elena Cernei, and the ballerinas Ileana Iliescu and Magdalena Popa. The foreign guests - Kim Borg, Patricia Johnson, Claudia Parada, Aldo Proti, Virginia Zeani, Giuseppe di Stefano etc. - offered the audience unforgettable performances. In the 1968/1969 season the first edition of the Festival Timisoara muzicala took place. It was a great opportunity for new premieres or new productions, for new titles interpreted by artists from the country. The Festival became regular and nobody could imagine the cultural scenery of the town without it.

In the fall of 1972, the 25-year jubilee was celebrated with absolute premieres. All this years, the Opera offered the audience over 100 premieres, of which 60 operas, 30 ballet performances and 16 operettas.

The Romanian creations were also appreciated, thanks to Michelangelo or Maiastra , absolute premieres. The audience had the opportunity to enjoy over 5,000 performances (almost 1,000 in tours), while the number of the spectators reached the impressive figure of two million.

By the end of 1971, 690 performances with guests had been presented (31 operas, 12 operettas and 6 ballet performances); the 196 foreign guests - among them 27 were conductors - performed together with 156 singers, ballet dancers and conductors from the country.

Timisoara 's artists were appreciated on various scenes from all over the world: Cairo , Vienna , in China , Vietnam , Oceania , Tunusia or India .

During its first 25 years, the Opera staff presented valuable works belonging to the world scenic creations, in hundreds of performances in various places in the country: 393 opera performances (38 titles), 474 operettas (14 titles) and 103 ballet performances (18 titles).

On September 1974, the manager Nicola e Boboc was replaced at this own request. It had been a "golden period" of great achievements, made possible grace to a staff capable of artistically performances that were highly spoken about not only in the country, but also abroad.

The next season started with the new manager, the conductor Cornelia Voina. For the three seasons that she ruled the Opera in Timisoara , Cornelia Voina managed to continue the traditions of the institution, both in the repertory and in the valuable artistically interpretation. A number of performances were re-staged and qualified professionals interpreted the several premieres. The tours in the country and abroad went on; they represented opportunities to confirm the artistically potential of these messengers from Timisoara . However, the period of the relative political calmness started to disappear and this was felt especially in the cultural context.

In the fall of 1977, Petre Manzur was appointed manager of the Opera in Timisoara and he ruled its destiny until 1983.

The general repairs of the Opera building imposed a certain repertory. Numerous performances took place in other towns, those in Timisoara being presented in inappropriate halls. However, new premieres were staged - but performed during the tours - and the current repertory was revived with second premieres. The activity was resumed at the center on May 1 st 1979 .

During Petre Manyur's management, 13 new titles were staged: 5 operas, 2 operettas and 6 ballet performances, among which a world premiere, Dacia Felix , by Bujor Hoinic, a conductor of the Opera in Timisoara .

The beginning of the new decade brought changes in the artistically and cultural field. The cultural institutions had to reduce the number of the employees, at the beginning only in the administrative department, but later in the artistically one, too. Paradoxically, the budgetary expenses of the institutions rose, as a variety the art section was founded, in the hope that it would increase the income; but the results were below the expectations.

The Festival Timisoara muzicala became annual since 1978, starting with its 6 th edition.

Micro seasons were organized in Lugoj, Arad , Resita , Otelu Rosu, Deva, Hunedoara, Buzias, Oradea and Ciacova.

Tours took place every year, not only in the country, but also abroad, and the Opera of Timisoara was presented on several European stages: Yugoslavia , the German Federal Republic , Luxembourg , Holland and Italy .

In the autumn of 1983, Ion Iancu, a professional conductor, was appointed manager of the Romanian Opera in Timisoara . Unfortunately, he felt the "advantages" of the "Golden Era" under Ceausescu's dictatorship. The grants for culture were drastically reduced, many employees were dismissed and the state subsidised only part of the artists' salaries. The performances in the Opera building were accompanied by concerts in industrial halls, workers' clubs, schools, nursery schools and even cinema halls, before successful films. Under the new manager, three successful premieres were staged, 1 ballet performances and 2 operettas.

Timisoara muzicala remained a prestigious Festival, untouched by the political indications of the moment.

New guests from Cluj , Iasi and Bucharest honored several of the performances at the time. The tenor Vladislav Piavko, who was to become a favorite of the audience in Timisoara , first sang on this stage in two performances. The micro seasons in Resita , Lugoj and Arad were also maintained.

On March 30 th 1985 , Ion Iancu finished his managerial activity and was replaced by Maria Margineanu. As the self-financing possibility was hard to be put into practice, people who were considered good organizers, but who unfortunately lacked expert knowledge, were appointed managers of the artistically institutions.

The new management initiated a series of new events, such as The Verdi Days or Autumnal Harmonies. These gained the public's appreciation as opportunities to enjoy performances with guests from abroad or the current repertory presented in an attractive form. The Opera Lovers' Club was founded and exhibitions, medallions and video presentations were organized for all the music fans.

Nevertheless, the tours in plants and factories, schools and nursery schools went on, in order to increase the budget of the poor institution. Simultaneously, vocal recitals were presented at the Museum of Banat , within an elevated cultural framework.

During the Festival Timisoara muzicala , the Opera competed with it's artistically homonym through a wide stylistically range. Premieres were presented, as well as re-staged performances, with guests from the country or from abroad. The 13 th edition of the festival was the 40 th anniversary of the Opera in Timisoara , and Aida , performed on April 27 th , was meant to be a new presentation of the inaugural performance.

Among the guests were Ludovic Spiess, David Ohanesian, Mioara Cortez David, Sanda Sandru, Dorin Teodorescu, Florin Georgescu, local personalities who had retired and prestigious artists from abroad: Vladislav Piavko, Ludmila Magomedova, Iuri Amrusin, Zurab Sokilava.

The micro seasons became less frequent, as they involved money, and only those in Arad and Resita were maintained. Nevertheless, money was found for tours. The most significant achievement of the staff in Timisoara was the invitation to take part in the Festival George Enescu , in Bucharest . Our artists were presented at various festivals or regular performances in several Romanian towns.

Nothing seemed unusual when the 1989/1990 season began. The regular repertory, performances with guests from the country and from abroad… The 14 th and last Congress of the communist party took place and Ceausescu was re-elected unanimously. It seemed that nothing could change the course of history.

Nevertheless, December 16 th brought the Romanian Revolution and on December 20 th , still under the communist dictatorship, Timisoara declared itself a free town. On December 22 nd , the place between the Orthodox Cathedral and the Opera House was crowded with over 200,000 people whose happiness when hearing the word VICTORY could not be described in words.

Ion Iancu was the first manager elected after the revolution and his position trying to fight against the inherent hardships. The freed country borders, trough a good thing for the population, caused the "dissipation" of the important artistic staff. Under such circumstances, staging the traditional repertory became increasingly difficult. Young artists were employed to complete all the sectors.

In the first season, beside Vladislav Piavko, other singers from abroad were invited in Timisoara : Patricia Morandini and Corneliu Murgu, whose partner was Maria Slatinaru Nistor. The cultural exchanges with Yugoslavia continued, and so did the micro seasons in Lugoj and Arad . Tours took place in Hungary and Yugoslavia .

Virgil Bosa was the manager of the Opera in Timisoara from September 1990 to 1994.

Because of the new retirement law, the Opera lost quite a number of its most precious artists. They were replaced by personalities from the country and from abroad, but also by young artists. As the solo singers were very few (at a certain time the Opera did not have a tenor), collaborators were called to help. It was a manner in which the guests, alongside with our solo singers - unfortunately, they were very requested -, managed to keep the high level of the performances.

During Virgil Bosa's management, 15 new titles were presented, either re-staged or premieres: 9 operas, one operetta, 5 ballet performances and 2 vocal symphonic creations. The current repertory included 27-30 titles from the world musical and theatrical works.

The Festival Timisoara muzicala revived after a year's pause, and the first International Festival of Opera and Ballet was organized. It reunited artists from Bucharest , Cluj -Napoca (both the Romanian and the Hungarian Opera, beside the staff from The Academy of Music "Gheorghe Dima"), Iasi , Timisoara , Chisinau and Budapest .

A large number of modern ballet troupes were brought in Timisoara thanks to the new, but fruitful co-operation with the French Cultura l Center in this town.

New performances were staged and re-staged, in Italian or German. This was good for the tours to be organized abroad, but the performances were not so much appreciated by the audience, at least in the beginning.

The co-operation with the theatre Tosa Jovanovici continued and the cultural exchanges between the Opera of Timisoara and the one in Cluj were inaugurated.

The current performances benefited by guests from the country and from abroad. Troupes of lyrical theatre or ballet - regarded as real events - performed on the stage in Timisoara , adding to the variety of the musical context of our town. Among these was the Dance Troupe Gelu Barbu from the Canary Island ( Spain ) with the performance I Love Becket .

Gradually, the micro seasons became past events. Only the monthly performances were maintained on a subscribing basis in Arad .

The Opera from Timisoara was present at the Festival of Opera in Lucerne ( Switzerland ) and at the Festival of Open Space Plays at Szeged . During the tours that the Opera staff from Timisoara - strengthened with "borrowed forces" - organized in Austria in Austria , Spain , Holland and Belgium our artists were praised in the press of those countries. The latest success, under Virgil Bosa's management of the Opera, took place in Belgium : The Magic Flute , in co-operation with the Opera from Budapest , and Don Giovanni . Unfortunately, with the management's approval, the latter title was presented as the achievement of the Hungarian Opera only.

The 1994/1995 season began under the rule of the present manager, Ion Iancu, re-elected in August 1994.

In the following period, the efforts were meant to stir the public's interest for the lyrical performances. The number of titles in the current repertory (20-25 titles, among which only one operetta and three ballet performances) was reduced, but the most popular presentation that had been morally and materially worn-out were re-staged.

The guests of the Romanian lyrical theatres were the already known collaborators for the opera and operetta performances: Florin Diaconescu, Viorel Saplacan, Emil Strugaru, Mircea Sampetrean, Nicola e Urdareanu, Vasile Martinoiu, Iulia Kirkosa, Robert Nagy, Carmen Gurban, Dan Serbac, Adriana Mestes, and Ionel Voineag.

In the autumn of 1996, the International Festival Timisoara muzicala took place simultaneously with the anniversary of the 50-year jubilee of the Romanian Opera in Timisoara . From September 15 th to October 1 st , this Festival included 14 manifestations, among which, of course, Aida by Verdi, re-staged, with the tenor Corneliu Murgu as Radames. The 21 st edition of the Festival was a true celebration of the lyrical theatre in Romania with guests from Romanian musical institutions, theatres and educational institutes.

A touching event was the meeting with the former employees of the Opera, those who had worked hard in this institution during the years: artists, workers and office workers. Among them, the founders Adriana Ciucu (The Great Priestess in the inauguration performance on April 27 th 1947), Illa Cazacu, Mircea Mavrodin, Iuliu Mare, Tomita Popescu, the conductor Ladislau Rooth, prime ballet dancers Nectara Toma, Elisabeta Feretti, Vasile Fonta, Mira Popescu, Marieta Grebenisan, Nicola e Zaharie, Francisc Dinier, the conductors Nicola e Boboc, Ioan Kecenovici, Miha i Beleavcenco Popescu, the ballet dancers Rodica Murgu, Francisc Valkay - to mention only a small part of those to whom the Romanian Opera in Timisoara owes its gratitude and admiration.

The jubilee ended with The Opera's Wonders , a Gala of opera and ballet. It was a true artistically delight offered by Timisoara 's present and former singers and guests.

It was a very special night, with flowers and tears of emotion, a night to crown the manifestations dedicated to the Opera's 50-year jubilee. A bridge over time, A time that brought together efforts, achievements or defeats, happiness and sadness, moments of dedication, of emotions, work and, above all, music.

Beginning with the year 2000, the world known tenor, Corneliu Murgu, was elected as general manager of the Romanian Opera House from Timisoara . Under his leading the repertoire acquaintance freshness, every important opera and operetta titles was presented on Timisoara or on tour ( Spain , Germany , Italy , Qatar , Bulgaria and Holland ) as premiere together with many conductors or soloists from country or abroad, including the great soloist Leo Nucci in Verdi's Rigoletto. Also, under his management on 24 th of September 2004, the Romanian Opera House from Timisoara became the National Opera House from Timisoara as wreathe of the successes and quality of the artistically act of culture.