The beloved soloist of the Ruse audience, Stoyan Stoyandzhov, will celebrate 40 years of artistic career at the Ruse Opera with a festive concert. On September 26 (Friday) at 7:00 p.m. in the Philharmonia Hall, you will have the opportunity to enjoy his talent and genuine artistry. Under the baton of maestro Dimitar Kosev, together with his colleagues and the orchestra of the State Opera Ruse, he will present an exciting and captivating program.
On this occasion, Diana Dimitrova spoke with her colleague Stoyan Stoyandzhov – an example of devoted presence in the life of the Ruse Opera House.
The Ruse Opera celebrated its 75th anniversary last season. And you have been bound with it for 40 years. Do you remember how it all began?
These are memories that last a lifetime. I started at the Ruse Opera as a soloist on September 14, 1985. At that time, soloist appointments were made through a competition. After passing such an audition in July, my work record book officially states that on September 14 I was appointed to the Ruse Opera.
Was the competition tough?
Yes! Back then, vacancies were announced in the State Gazette for a specific opera house – in this case, Ruse. Thirty people applied, and it was quite a fierce competition. Soon after, I had to take on a role quickly because one of my colleagues was leaving for abroad, and someone urgently had to step in as Marquis D’Obigny. So, on September 27, I appeared on stage in La Traviata, directed by Acad. Plamen Kartaloff. I received great support from Penka Marinova, may she rest in peace. She was our assistant director – an extremely erudite person, with a kind and warm attitude toward the artists, especially the young ones.
The challenge was that the rest of the cast was already so accustomed to the production that they didn’t attend rehearsals, having many other commitments. So Penka Marinova placed chairs on stage, telling me: “This is the Baron, this is the Doctor, this is Violetta,” and so on. We rehearsed with chairs for about ten days. The conductor of the production was Maestro Georgi Dimitrov. It turned out to be a very successful performance, and that was my first confirmation that I could succeed at the Ruse Opera. The audience embraced me, and things took off with my debut role as Marquis D’Obigny.
The theme of continuity has always fascinated me – respect and reverence for those before us. To whom are you especially grateful for shaping you as an opera artist and as a person?
I cannot single out just one name – my colleagues back then were incredibly supportive. In any opera theatre, as in theatre in general, there are rivalries, especially in role distribution. The late Pavel Gerdzhikov used to say: “A new production means new friends and new rivals.” But what impressed me deeply when I started was the remarkable team spirit. Everyone helped.
Some colleagues didn’t have the best personal reputations but were excellent professionals – even they helped me at times. So my first years unfolded in a very benevolent atmosphere.
I will never forget the first day, wondering which dressing room to enter, when the late Nikola Abadjimarinov said: “Stoyancho, come with me.” He took me under his wing and invited me into his dressing room. Though we had studied stage make-up at the Music Academy, I wasn’t skilled enough, so Koleto helped me, and so did the late tenor Ivan Stoev. I felt extremely welcomed and supported.
As far as I remember from our previous talks, you are originally from the Strandzha region. How did you end up in Ruse, so far from your birthplace?
My path went through many places. I graduated from the music school in Stara Zagora. Then I served in the military with the Construction Troops. I must say, it helped me greatly – besides being a chorister, I sometimes performed as a soloist. I was also an amateur actor and a corporal, in charge of quarters. I gained a lot of experience, and after completing my service, I was admitted to the Conservatory. Immediately after that, I applied to the Ruse Opera.
Few people remain so consistent in life, spending 40 years in one place. Did you ever think of leaving?
Yes, there were moments of upheaval – changes in the political system, leadership transitions… those “austere” times (not that they have ever truly ended). There were times when I was on the verge of seeking another opera house or even another profession.
What kept you here?
The thought of missing the opera, the atmosphere, the audience… It may sound banal, but that’s the truth. Those thoughts always proved fleeting. I love my profession and cannot imagine working at something I don’t love.
When did you begin singing, and when did you realize you wanted to become an opera singer?
My first love for opera came when I was in the first or second grade. I saw Carmen at the Stara Zagora Opera. Of course, a child cannot fully understand love and passion. But perhaps the music, the stage – all of it sank deeply into my soul. It was an unforgettable experience that marked me for life. Gradually, I realized I had a good voice. I joined choirs, performed at school celebrations with recitations. Eventually, I enrolled at the Stara Zagora Music School “Kristina Morfova.”
You have built roles in opera, operetta, and musicals. You are also strong in the cantata-oratorio genre. Where do you feel most at home?
I feel most comfortable in stage genres. My inner self has a strong artistic inclination, and that’s where I truly feel in my element.
And which role expresses you most authentically as a person?
The one closest to me is probably Papageno. He is good-natured, honest, kind to everyone, well-intentioned. That’s why I see a parallel with myself.
If you could go back in time, would you change anything?
Everyone has something they might want to change. Unfortunately – or perhaps fortunately – there is no such time machine. So I accept things as they are and keep moving forward. A person grows, seeks themselves, searches for the meaning of life… Very few actually find it. We try to touch that “little bird” flying above us, but only the geniuses have managed to catch it.
Is there a role you still dream of?
There are many! One that slipped away from me, though it suits my nature, is the role of Scarpia. I didn’t dare, I lacked the courage for it, perhaps. That is the first role that comes to mind as an unfulfilled dream.
What do you wish for yourself after 40 years on stage?
What everyone wishes for – health for myself, my family, my friends. I hope the economic situation in the country improves for the arts, because we are losing many talents due to insufficient investment in the nation’s cultural future. Many parents don’t allow their talented children to study music because they know how poorly paid such careers are. This is one of the main reasons why many gifted people turn away from the arts. And if they do pursue them, they often head abroad, where the pay is better.
These are the sad realities. The bright side is that I have been on this stage for 40 years, feeling the energy of the audience, transforming it into the characters I create, giving it back – and receiving it a hundredfold in return. The audience is extraordinary. You know the purpose you were born for, the purpose you serve. It is a pleasure to work with my colleagues. May I live and be healthy! Each of us has a certain potential and charge. When mine runs out, I will gladly step down from the stage.
St. Stoyandzhov – 40 Years on Stage
Photo: Archive of State Opera Ruse
