In the city centre of Cluj-Napoca lies the Romanian National Opera, a historic institution that has undergone an evolution since its opening in 1919. Inside this building works stage director Mihaela Sandu-Bodgan. With an education in both Romania and the United States, she is now also a professor at the National Academy of Music ‘Gheorghe Dima’ in Cluj-Napoca. She brings both artistic and educational passion to her work. ‘Working on the productions is like a love relationship.’

Sandu-Bogdan began working at the National Opera in 2008, shortly after completing a master’s degree at Indiana University Jacobs School of Music. ‘It was such a privilege to return to Cluj and work with a team this wonderful.’ Though originally from Baia Mare, Mihaela studied in Cluj-Napoca, where she received a scholarship to pursue a master’s degree in the United States. After working at operas in Canada and the US, she was offered a position at the Opera in Cluj-Napoca. ‘I was happy to have a great position at such a young age.’

Bogdan-Sandu loves her job as a stage director. ‘You’re essentially creating a world. It begins with the music, which is our script. From there, it’s a matter of interpreting, researching and building a vision that honours the composer’s intention. Or we give it a contemporary twist that still respects the message of the music.’

Cultural differences

Sandu-Bogdan has experience on the other side of the Atlantic Ocean. As a director in the United States, she noticed a difference in opera culture. ‘In the US, it’s quite different; there is more of an entertainment industry behind it. Productions look different depending on the budget and the public. In Romania, the public gives the pulse. They are more conservative, but I’ve seen them open up in recent years to modern approaches and new technologies.’

When asked about the influence of Donald Trump in American opera culture, Mihaela gives a short answer: “When I was there, it wasn’t Trump. So, I’m not sure how it’s going to impact the shows now. But I guess it’s going to give a spin to a more traditional look, speaking as a conservative.”

‘We try to give a modern twist to our operas’

Mihaela Sandu-Bogdan

Young audience

In the world of opera, there is a stereotype that says these are only for elderly people, but that is not true. ‘We try to give a modern twist to our operas, ‘ says Sandu-Bogdan. ‘For instance, in our recent production of Aida, we incorporated laser projections and a moving golden crocodile. These technological elements helped us create a more immersive experience. We even had a custom-built electric car from the 1920s built to drive on stage for an earlier opera. These innovations help attract the younger audiences without losing the message of the opera.’’

‘Also for the production of ‘La Bohème’, we tried to build up this paradise that these young people, the main characters, were living in. We wanted it to feel like a movie of a perfect world where you can never go back, just by the strength of your memory.’

The importance of including young people is seen in the work of Sandu-Bogdan. As a professor at the Music Academy in Cluj-Napoca, she is actively working together with the school, giving students the opportunity to perform early in their careers. It’s common for students to debut in the Opera in Cluj, mostly in minor roles. ‘But I see a great passion in all my students.’

Sandu-Bogdan is confident about the future. She believes opera will stay popular in Cluj-Napoca: ‘People said it would die, but I don’t see that happening. Our opera houses are full, with a young audience that keeps growing. As long as we continue to connect with the new generations, opera has a beautiful future ahead.’

Text and photos: Renske Doosje, Isa Schokkin, Mathis Beerlaen, Hajar Bendrif and Elias Rom