ANASTAS ANASTASOV, the baritone about whom Prof. Jean Ranzescu said: "In my long-standing directing practice in Romania and Europe, I have not encountered such a genuine and fully-fledged performer of Iago from Verdi's 'Otello' as Anastas Anastasov!”
One of the leading baritones in the soloist lineup of the Ruse Opera House ensemble in the 1960s–1980s was born on November 30, 1926, in Gorna Oryahovitsa. He graduated from the Music Academy under Petar Raychev and also attended the studio of Prof. Hristo Brambarov. Since 1955, he has been a soloist at the Ruse Opera. One of his first major achievements was the role of Aleksey Meresiev in 'The Story of a Real Man' by S. Prokofiev (1962). The then director of the opera, Georgi Chendov, wrote in his book 'Peacock Feather' that the decision to stage Prokofiev's work was due to the presence of Anastas Anastasov in the troupe, who 'gave one of the most interesting acting portrayals as Meresiev.'
Anastas Anastasov is a born artist, participating in almost all Bulgarian titles from the repertoire of the Rousse Opera, in the works of Parashkev Hadzhiev, Krasimir Kyurkchijski, Alexander Raichev, Alexander Yosifov, Nayden Gerov, Lyubomir Pipkov, Pancho Vladigerov. He has embodied more than 50 roles: Lord Ashton in "Lucia di Lammermoor" by Donizetti (1959), Marquis Posa in "Don Carlos" (1963), teacher Terziev in "Antigone 43" by L. Pipkov (1963), Kamen in "The Bridge" and Savata in "Anxiety" by Alexander Raichev (1965), Osman Bey in "Crazy Gidya" by Parashkev Hadzhiev (1966), Count Almaviva in "The Marriage of Figaro" (1966), Pavel Vlasov in "Mother" by Tikhon Khrennikov (1967), the priest Abimelech in "Samson and Delilah" by Camille Saint-Saëns (1968), the Dutchman in "The Flying Dutchman" (1969), Robinson in "The Secret Marriage" by Cimarosa (1972), Nayden in "Masters" by P. Hadzhiev (1972), Chonnar in "La Bohème" (1974), Gérard in "Andrea Chénier" by Giordano (1976), in "Boris Godunov" by Mussorgsky (1979), Ping in "Turandot", Yeletsky in "The Queen of Spades" (1968), Baron Scarpia in 'Tosca', Escamillo in 'Carmen', Prince Igor in Borodin's opera of the same name, Flute in 'The Merry Wives of Windsor' by Otto Nicolai, Renato in 'A Masked Ball' and Amonasro in Verdi's 'Aida', the Stranger in 'The Spinning Wheel' by Krasimir Kyurkchiyski, and others.
In 1975, for the premiere performance of Verdi's opera "Macbeth" directed by Konstantin Dimchev, conducted by Veselin Baychev, and designed by Tsanko Voynov, as part of the program of the International Festival "March Music Days," Prof. Rozalia Bix wrote:
„... I could not imagine an operatic (not dramatic) Macbeth with such dimensions of philosophical and emotional impact, as achieved by Anastas Anastasov. For this role of his, as well as for others, such as Iago, contemporary Bulgarian opera scholarship should conduct analyses and research, from which in the future the main, decisive directions in Bulgarian operatic performance art can be discerned. I will not claim that Anastas Anastasov possesses the optimal version of the voice for this role; there are Bulgarian singers whose vocal timbre covers the part better. But such a complete character, a character with the charm of the strong-willed (for if tyrants were not also charming, who would have allowed them to the throne!), such a force of human passions and insight into them, such precision in outlining the relationship between Macbeth and Lady Macbeth (which is why every one of their encounters was another climax in the performance) can be found only among the rare, memorable peaks of contemporary Bulgarian opera theater. Of such magnitude, without even the caveat for the shape, is Maria Venceslavova – Lady Macbeth. A brilliant vocal achievement, a very well-prepared and very well-suited role to the singer's nature, which makes one wonder when faced with the inevitable comparisons that arise between her and other, far more frequently praised and recognized singers in such roles. Good both in vocal coverage (M. Iliev, M. Dimitrova) and in ethical presence (Nedelcho Deyanov) were the other participants in this major event in the musical-theatrical life of Ruse, and, I dare to summarize, in our contemporary opera theater. Such performances achieve great and important human and social goals and build prestige that goes beyond the narrow assessment of professional success.(v. “Dunavska Pravda”, Ruse, No. 69, April 8, 1975)
After the indisputable creative peak, like true Shakespearean actors in 'Macbeth,' the artistic and married couple Anastas Anastasov – Maria Ventceslavova successfully participate in newly created classical Bulgarian operas. Parashkev Hadzhiev composed, based on the drama by Kamen Zidarov 'Ivan Shishman,' his musical-stage work 'Maria Desislava,' in which the main roles were written for the star couple.
Today their talented sons – the world-renowned bass and opera director Orlin Anastasov and the baritone Ventseslav Anastasov, as well as their charming granddaughter – Maria Anastasova, continue the family tradition.
The long-time soloist of the Rousse Opera left us on January 31, 2012, at the age of 84.
* Author: Dr. Veselina Antonova, archivist at the State Opera – Ruse
