Post-WW2 prosperity reflected somewhat from glamorous, star-studded stages of Italian San Remo and Eurovision across the borders of nearby Ex Yugoslavia.
At that point wealthiest East European country, Tito's Yugoslavia couldn't help but assimilating little of neighborhood's glitz and we soon got our own pop festivals, juries and music stars just like in San Remo.
Pop festival in Opatija (affectionately called "the old lady") was probably the main festival stage of 1950s, 1960s and 1970s since this is where who's who of music scene competed amidst huge media attention. Surviving performers from that time claim nowadays that those were sweet, innocent times where everybody shared huge enthusiasm for music itself and financial gain was trend that would not enter local music business until much,much later. The stage of classy, old "Kvarner hotel" was also the place of national choice for Eurovision song festival, so Opatija was definitely a place to be.
This album, recorded and released in 1958. brings only eight songs but they were all "greatest hits" of the year.
If I am correct, songs were usually performed in two versions, with each voice given different arrangements. Eight singers recorded here were than current top class of the still young recording industry and simply being represented here was as getting a Medal of honor. Veteran Ivo Robić and his young discovery-protege Zdenka Vučković waltz trough that year's classic hit singing what is basically praise to a new-found discovery of shopping and consumerism. Baritone Dušan Jakšić thunders trough tango about (what else) beauty of Adriatic sea, operatic Anica Zubović somewhat woefully emotes cinematic drama just to make sure this is not some superficial celebration but serious thing, honey voiced tenor Toni Kljaković got a really fine, romantic number that even Italian Claudio Villa probably wouldn't mind and those darlings of radio-editor Mario Kinel (Duo sa Kvarnera) almost steal Kljaković's thunder with their gorgeous harmonies. Young and sparkling Beti Jurković got to sing here what will later be remembered as Marjana Deržaj's signature number. Everything is tastefully backed with huge orchestra conducted by legendary Ferdo Pomykalo who was kind of local Mantovani and in 1958 that was still a compliment.
A generous, if not exactly entertaining compilation preserving for posterity what kind of music was considered "pop" back in 1961, Opatija '61 brings the whole new generation of wannabes, ready to burst and proud to be presented on national stage (and TV screens). Almost all of them passed serious tests before they arrived here, almost all of them were poised for success and frankly my dear, they all later made it. Only veteran Ivo Robić was well-known and successful previously, all these kids were just starting and its amazing to see them all here like some strange butterfly collection of most colorful species - from today's perspective it looks like who's who of Ex Yu old timers.
With the only exception of uncharacteristically jolly number by baritone Dušan Jakšić (who was usually far more somber, but here was caught in post-coital elation) and infectious, swinging and hip ditty by chirpy "Duo Hani", everything else is somehow subdued, like music authorities might complain about rhythms being too fast or music perhaps too much fun. So it is more or less a serious business full of whispers, sights and sorrow. Even the later volcanic Tereza Kesovija here is all stifled and formal to the point that her younger self is quite unrecognizable to future generations who know her as full-blown dynamo. It is definitely not performer's fault but my impression is that at the time they were some serious standards and expectations how "pop singers" should look, sound and behave. So if they all appear like earnest high school graduates, well those were the days my friend, we thought they'd never end.
Lola Novaković got herself a really pretty ballad, which might be a highlight here.
Zagreb's music festivals have almost six decades of history behind them now and gave lots of pop classics along the way.
From its simple 1950s roots (where only two singers showcased songs by various competing composers) to further decades when sophisticated, orchestral pop experienced its up and downs,it was a stage that would often catapult new stars and gave media tons of material to cover - not necessarily just music but everything that show business as such brings, including fashion trends, celebrity scandals, magazine covers and backstage maneuvering.
For some reason - perhaps because the timing was just perfect - festivals of 1962 and 1963 are remembered as true explosion of new talents and white-hot inspiration.
It seems that stages of pop festivals in the previous few years were just introduction and testing of water compared to what happened during these two years when composers, arrangers and performers suddenly experienced pure high of competition - according to their interviews today, it was a very healthy, friendly contest with everybody involved being happy and honored to be invited there and even the fact that performers would get to perform each other's songs (as a homage to composers) was seen as good natured collaboration.
Both years are now compiled in their complete recordings here on this double CD, together with not only official LP releases but with added singles and archived bonus tracks of "other versions" of now-classic evergreen hits. It is very interesting to note the presence of artists invited from every single corner of than large country, it wasn't just a showcase of local Zagreb's stars (as it became tradition later) but also a stage for singers like Lola Novaković, Ljiljana Petrović, Marjana Deržaj, Dušan Jakšić, Nada Knežević and even a rock band Bijele strijele. People like Zdenka Kovačiček and Arsen Dedić were presented here in the first bloom of their youth, among the rest of their colleagues who were all at the start of long careers. Excellent.
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