NTOB’S greatest production of 2018 returns on October 22, 23 and 24 following the success of the premiere of the “Die Fledermaus” operetta at the Palace of Congresses on March 31 and April 1, 2, 3.

This work was put on stage in the framework of the Austria-Albania Cultural Year 2018, in cooperation with the Austrian Embassy in Tirana.

Strauss’s most beautiful waltzes, arias and music collected in a single work, a NTOB production. A story that intertwines class and the grotesque, amidst the mundane, luxury and deception in the Vienna society of 1870, a comedy of situations and muddle that we actually encounter even today. Judges and directors of corrupt prisons, adulterers, politicians, drunkards, featherbrained artists and maids who want to reach their ladies’ level. All of this overwhelming emotional workload of Strauss’s work, the wonderful atmosphere of the work is accomplished under the brilliant interpretation of all NTOB Troupes.

Interplay between opera, ballet and stage theater, is put onto a stage where dialogues between actors are interpreted in Albanian to create an exciting atmosphere.


Johann Strauss II

Johann Strauss II was an Austrian composer, son of Johann Strauss I. Both father and son made it into world art history. Johann Strauss I quickly made a name for himself as a composer, violinist and conductor. His life and work left a mark on his young son Johann Strauss, who was nourished with the beautiful Austrian folk music and the creativity of his father’s musical activity. He went down the same path and became a musician, songwriter, violinist and conductor, just like his father.

Compositions such as The Blue Danube helped establish Strauss as “the Waltz King”.

From the age of 19 he appeared before the Vienna public as an orchestra conductor, performing his own compositions, with which he gained great fame and made the public love him.

Johann Strauss composed over 500 waltzes, polkas, quadrilles, and other types of dance music.

With the great strength of his talent, he exploded in waltzes, which are full of melody, freshness and originality. They are notable for their rhythm, not forgetting a very resonant orchestration.

Strauss has enriched the waltz form, bringing new features typical to the rhythmic construction of his melody. In the Strauss waltzes, elements of Austrian folk music merge with the warm music of Viennese life. His best dance tunes, as the ” Blue Danube ”, became known not only to Austrians but to art lovers around the world. His works still enjoy great popularity in Austria and beyond.

In 1848, Johann Strauss wrote a number of waltzes such as “Songs of Freedom”, “Barricade Songs”, “Sounds of Unity”, “Revolution March”, and many other works. After his father’s death, he took charge of his orchestra, conducting a lengthy tour of concerts in Europe and America that brought him worldwide glory and fame.

Johann Strauss was one of the most original conductors. By playing the violin and at the same time directing the orchestra, he achieved remarkable rhythmic elasticity in execution. This genius handled musical works by interpreting them with different expressions and colors of sound, capturing the audience with his ardent temperament and excellent playing on the violin.

Through fine art and sensibility, he carved out the special spiritual characteristics of his people, the beauty of the Austrian landscape. At the same time, Strauss’s creativity is pervaded by the motifs and melodies of the music of other peoples, partly of Hungarians and Slavs. This is noted in his works created for the stage.

He has composed 15 operettas, a comic opera and a ballet, being considered an operetta master. In the last 30 years of his life, he mainly dealt with this genre of stage music.

Strauss created his first musical work for theater in 1870 and continued to write in this genre vigorously until the last day of his life. In the theatrical works that he created, as well as in concertos, the dance aroma, presented in the form of waltz, polka, gallop, csardasz and more, which are called dance operas, predominates. Such is one of Strauss’s operas “Die Fledermaus”. The dancing character traverses all the numbers of the score, starting with the overture, in which all the main themes of the operetta are combined.

Strauss’s other works include “Night in Venice” 1883, “The Gypsy Baron” 1885, etc.

His works are distinguished and appreciated by music critics for their high artistic level. The importance of Johann Strauss’s operas lies first and foremost in their music. He created the classic model of the “Viennese waltz” and the “dancing” operetta. His works also have great artistic value because they are an inexhaustible wealth of melodies, joyous momentum and heartfelt humor. Although his music has been around for a long time, it always sounds fresh and captivating.




“The Bat” (german: Die Fledermaus) is Johann Strauss’s most famous operetta, with a libretto by Karl Haffner and Richard Genée from “Le Réveillon” by Henri Meilhac and Ludovic Halévy.

More than a year had passed since the “Black Friday” (May 9, 1873), in which the Vienna Stock Exchange fell sharply. Feelings of pessimism and despair continued to dominate the lives of the capital’s citizens, as well as in theaters. The latter recorded a sharp decline in their coffers at that time. Driven by the desire to put an end to this tragic situation, theater directors demanded the right production that would bring the public back to the theater. They discovered a very successful French comedy by Henri Meilhac (1831-1897) and Ludovic Halévy (1834-1908), entitled “Le Réveillon” (which recurs largely the “Das Gefängnis” (Prison)), a very popular and dramatic comedy by German librettist Julius Roderich Benedix. Playwright Karl Haffner was authorized to do a German translation of it. Haffner encountered great difficulty in adapting the French work for Viennese public and gusto, and his work was deemed inappropriate.

The task of creating the libretto was then entrusted to the conductor of the Theater An der Wien, librettist and composer Richard Genée (1823-1895).

Strauss was immediately fascinated by Doctor Fledermaus, (being this the title originally designed for the Genée’s libretto), and immediately began work. He worked closely with the librettist and managed to complete most of his musical score in less than 42 days. The premiere of “Die Fledermaus”, (it would be the final choice for the operetta’s title), was going to take place in September 1874, but due to major financial problems at the Theater An der Wien, it was decided to be anticipated.

The premiere, amidst the general reception, took place on Easter Sunday, (April 5, 1874). There has been a lot of criticism of the libretto, cast and music.

Carl Ziehrer wrote on his page in “Deutsche Musikzeitung”: “Again the libretto is not worth much. The music has charm, but no real sweep. The operetta is too long; it abounds with superfluous numbers, and it abounds with superfluous characters”.

Anyhow, the press was quite generous in its praise of Die Fledermaus’ first-night. The reviewer for the Konstitutionelle Vorstadt-Zejtung, for example, recorded:

“The whole subsequent course of the evening was in keeping with the roaring overture of applause with which Strauss was greeted. Almost every number set the audience’s hands in motion, and at the end of each act Strauss, dripping with sweat, could scarcely leave the conductor’s podium fast enough to thank the audience from the stage for their favour.”

The Illustrirtes Wiener Extrablatt (8.04.1874) spoke of an “outstanding success scored by Strauss’s inexhaustible inspiration, and a brilliant performance; it was a victory on all fronts!”

On July 8 of the same year, the work premiered at the Deutsches Theater – Berlin; November 14 in Budapest; November 21 in New York; April 18, 1875 in the “Semperoper” in Dresden; and June 26 in Naples’ Teatro Nuovo, translated into Italian by Enrico Golisciani; July 10, Monaco and Bavaria’s Staatstheater am Gärtnerplatz; and on December 18, 1876, it premiered in the United Kingdom at London’s Alhambra Theater.



Gabriel von Eisenstein, Banker (Tenor)

Rosalinde, Eisentein’s wife (Soprano)

Adele, Rosalinde’s maid (Soprano)

Ida, Adele’s sister (Soprano)

Alfred, a tenor (Tenor)

Dr.Falke, a notary (Baritone)

Orlofsky, a Russian prince (Mezzosoprano)

Frank, Jail Director (Bass)

Dr. Blind, lawyer (Tenor)

Frosch, jailer (Actor)

Ivan, Orlofsky’s servant (Actor)




From outside comes the voice of tenor Alfred, serenading his old flame Rosalinde. At that moment, chambermaid Adele appears reading a letter. Her sister, Ida, who is a dancer, has invited her to a party organized by wealthy Russian prince Orlofsky. To get to the ball, she has to steal a dress from Rosalinda. Alfred, who continues to sing at the meantime, has had a sentimental affair with Rosalinda, several years before she got married. Adele tries to procure her free afternoon, that’s why she tells her mistress she must visit a sick aunt. Rosalinde refuses to let her go, as Adele has to stay home because her husband, Gabriel Einsensten, has to spend several days in jail to pay for a light sentence. Adele starts crying over the fact that she can’t go to the party, but has to stay home to care for her mistress. Einsenstein argues with his lawyer, Blind, about the fact that his sentence has been increased by three more days. Before he goes to serve his sentence, Einsenstein will consume his last pre-sentence lunch, so he sends Adele to pick up the most expensive food at their favorite restaurant. At that moment, comes Dr. Falke, Einsenstein’s close friend, who invites him to the party hosted by Prince Orlofsky. Einsenstein agrees, as prison can wait a little while. He reminds Dr. Falke’s the last ball where he was dressed as a bat. Adele comes and brings food for Einsensten. Suddenly Rosalinde remembers that Adele must go to visit her aunt and gives her permission to leave, while time comes for Eisenstein to go to prison serve his sentence. They leave, but in fact they both rush to Prince Orlofsky’s party. Left alone, Rosalinde takes advantage of the opportunity to spend some time with Alfred remembering their love story. At this moment, the prison director appears to pick up Eisenstein. Embarrassed, Alfred pretends to be Rosalinde’s husband, Eisenstein, and leaves with the prison director.



The party has begun at Prince Orlofsky’s home. The two sisters meet at the party. Ida is surprised by her sister’s presence. She asks her why she was surprised when she herself wrote a letter inviting her to the party. Ida responds that this is probably a joke, because she didn’t send her any letters. She even states that a waitress like her cannot attend parties of this class and therefore decides to introduce her sister as a debuting actress. Prince Orlofsky appears accompanied by Dr. Falke, confessing to him that although he is rich, he is not happy and cannot laugh. But the doctor promises that the surprises will be very pleasant during his party and during this time he whispers the plan for the prey, Eisenstein. They both meet sisters Adele and Ida. Adele introduces herself as an actress named Olga. Eisenstein has come to the ball wearing Marquit Renard’s mask. Falke introduces cavalier Chagrin. Of course, he is no one else but prison director Frank. Eisenstein and the prison director introduce themselves to each other without actually knowing who they are. Eisenstein flirts with Adele, while the Hungarian Countess who is really none other than Rosalinde shows up at the ball.

Falke tells her that Eisentein is not in jail, but he is at this party. Eisentein likes the so-called (disguised) countess very much and begins to seduce her by showing her the watch with which he has had great success with women.

He tries to court the Countess, who is bursting with anger, but continues to play her role in order to take the watch as proof of her husband’s infidelity.

Adele and Orlofsky ask Dr. Falke when he’ll start his joke called “The Bat”. The nearby Eisenstein approaches to tell the following story.

“In a masquerade ball, Mr. Doctor appeared as a drunk bat. As he was, wearing the bat suit, I sent him under a tree in the city park for him to spend the night. In the morning, to get home, he had to go through the city wearing his bat suit. When people saw him, they wouldn’t stop laughing.”

Orlofsky asks: “He’s not avenged on this joke yet?!”

Eisenstein: “He has no way, but anyway I have to be very careful.”



Frosch the jailer is vexed by the late arrival of his boss, Frank, and by the nonstop singing of Alfred in cell number 12. Frank finally appears, tipsy and enraptured by memories of his magical evening posing as an impresario. Ida and Adele arrive, per Falke’s instructions. Adele hopes Frank might further her stage aspirations. Frank sends them off and then admits Eisenstein, who says he has come to serve his sentence. He is surprised to learn his cell is already occupied by a man who claims to be him and who was found in his own apartment.

Blind arrives, claiming he was summoned by the man in cell 12 to handle a case of false arrest. Determined to get to the bottom of the matter, Eisenstein snatches Blind’s cloak, glasses, and wig to disguise himself as the lawyer and confront the impostor. At that moment, Rosalinde rushes in. She tries to secure Alfred’s release and asks “Blind” to press divorce charges against her errant husband, but is offended when the “lawyer” seems to take Eisenstein’s side. Dropping his disguise, Eisenstein accuses his wife of promiscuity, at which point Rosalinde produces his watch.

All the guests start singing: “Oh bat, oh bat, leave thy victims.”

Falke explains: “All that brought you distress was a joke I made, a fabrication.”

Others respond:”And we all played the part”



NTOB Orchestra

Conductor: Lazlo Gyuker

Director & Choreographer: Renato Zanella

NTOB Soloists and Ballet Troupe

NTOB Choir

Conductor: Dritan Lumshi

Costume Design: Enada At’Nikolla

Set Design: Bashkim Zahaj

As/Director: Ada Gurra

As/Choreographer: Alisa Gjoni

Soloists: Ledia Sulaj, Adela Muçollari, Gerd Vaso, Dion Gjinika

Concert master: Etrita Ibrahimi, Ardita Bufaj, Enina Llozi



Gabriel von Eisentstein: Branimir Agovi, Denis Skura

Rosalinde: Eva Golemi, Renisa Laçka

Falke: Armand Likaj

Orlofsky: Vikena Kamenica, Ivana Hoxha

Adele: Rezarta Qevani, Erinda Agolli

Frank: Erlind Zeraliu

Alfred: Armaldo Kllogjeri, Elson Braha

Blind: Gilmond Miftari

Ida: Dorina Selimaj, Simona Karafili

Frosch: Genc Vozga

Ivan: Sokol Tomorri



NTOB Orchestra

Conductor: Dian Tchobanov

Director & Choreographer: Renato Zanella

NTOB Soloists and Ballet Troupe

NTOB Choir

Conductor: Dritan Lumshi

Costume Design: Enada At’Nikolla

Set Design: Bashkim Zahaj

As/ Director: Ada Gurra

As/ Choreographer: Alisa Gjoni

Soloists: Ledia Sulaj, Adela Muçollari, Gerd Vaso, Dion Gjinika

Concert master: Etrita Ibrahimi, Ardita Bufaj, Enina Llozi



Gabriel von Eisentstein: Branimir Agovi, Denis Skura

Rosalinde: Eva Golemi, Renisa Laçka

Falke: Armando Likaj, Solen Alla

Orlofsky: Ivana Hoxha

Adele: Rezarta Qevani, Erinda Agolli

Frank: Erlind Zeraliu

Alfred: Armaldo Kllogjeri, Elson Braha

Blind: Gilmond Miftari

Ida: Simona Karafili

Frosch: Genc Vozga, Xhieldo Hyseni

Ivan: Sokol Tomorri



Renato Zanella was born in Verona, Italy in 1961. His first love was sports, mainly basketball. Only at the age of seventeen did he have his first contact with ballet and from that moment he devoted all of his energy and passion to dance.

He took his first classical ballet lessons in his hometown and then perfected them at the “Centre de Danse International” in Cannes. In 1982, he signed his first contract with Basler Ballet. He has performed works by Balanchine, Van Manen, Robert North, John Cranko and many others, with this company.

During this period he built a successful reputation and career that led him in 1985 to become part of the most famous ballet companies in Stuttgart. There he was given the opportunity not only to work with renowned choreographers such as John Cranko, Maurice Béjárt, Jiri Kylián, William Forsythe, Azary Plisetsky, but also to showcase his creative abilities. At the age of 28, he created his first choreography entitled “The Other Side”. After that, he had a successful career as a choreographer as well.

At the age of 34, Zanella was appointed director of ballet at the Vienna State Opera. During this time, Zanella has presented about 40 of his creations. His Mozart ballet “Wolfgang Amadée” in 1998 has achieved particular acclaim. His choreographies have been performed by major international artists such as Carla Fracci, Sue-Jin Kang, Anastasia Volotchkova, Simona Noja, Shoko Nakamura, Polina Semionova, Olga Esina Egon Madsen, Alessio Carbone, Benito Marcelino, Vladimir Malakhov, and Giuseppe Picone.

After leaving Vienna State Opera, Zanella expanded his career internationally. His choreographies were put on stage not only in Europe but also in America and Asia.

In 2009, Zanella took another step in his artistic career by staging various operas.

His first project “Cosi fan tutte” put on stage at the “Attersee Klassik Festival” was a huge success with the public and critics. He staged “Carmen” in 2010, and “La Traviata” in 2011 for the Aegean Festival. In 2012 he directed the opera “Faust” at the Greek National Opera and in 2013 the opera “I Vespri Siciliani”.

Renato Zanella has been the Ballet Director at the Greek National Opera from 2011-2015 and subsequently Ballet Director at the Bucharest National Opera. Zanella has left a significant mark as a choreographer in the Vienna Grand Gala, which takes place every January 1st and is attended by millions of viewers around the world, with his choreography.

During his artistic career Zanella has received many awards and titles as: “Best Italian Choreographer Abroad” by “Danza & Danza” in 1995; “Premio Internazionale Gino Tani” in Rome, 2000; “Cross of Honor for the Sciences and Arts” awarded by the Republic of Austria; the title “Professor” in 2012; Danza Capri International Award in 2015.

Directing and Choreographic Concept by Renato Zanella


Johann Strauss II and Jacques Offenbach had the opportunity to participate in the Universal Exhibition in Paris, organized by Napoleon III. The exhibition opened in Paris from April 1 until November 3, 1867. This event has been recalled several times at the “Fledermaus” because the pocket watch Eisenstein uses to attract the dames at Orlofsky’s party (later taken by Rosalinde) was purchased by Eisenstein at that event. In the following months, following the first performance of “La Grande Duchesse de Gerolstein”, Offenbach’s new work would be the subject of a Fantasy, written by Johann’s brother Josef. However, Offenbach was often mentioned by the Strauss family and was the German composer himself that persuaded Johann Strauss to devote himself to the operetta.

Die Fledermaus was first staged on April 5, 1874 at the Theater an der Wien, a few months after the fall of the Vienna Stock Exchange on May 9, 1873. This work based on a French comedy, “Le Reveillion” by Henri Meilhac and Ludovic Halévy was commissioned by Johann Strauss, precisely to elevate morale and provide entertainment to the Viennese. Even in the years to come, the cultural relations between Vienna and Paris would continue. An example of this was the scholarship won by Sigmund Freud in 1885, who was given the opportunity to follow the teachings of the famous neurologist Jean-Martin Charcot, a hypnosis scholar. After this visit, Freud would change the acquired concepts, thinking of the most suitable systems.

Analysis for directorial development

The Fledermaus Overture is a notable example of Johann Strauss’ style. Its rhythms force a continuous rubato (as in polka, waltz or gear), which fits quite well with the interpretive practice of the Viennese waltz (a tricolor rhythm, always with the emphasis on the first time). In Strauss’s dynamic modulation (if any measure is analyzed), we find not a waltz abandonment at speeds, but a series of very fast waltzes, written sequentially. In this case I thought of interpreting it with a ballet troupe. A visual and telling interpretation of ballet, a very dear art to Strauss.

Act One: The Viennese operetta always unfolds in three acts, the first of which, has the task of presenting different situations, of the protagonists (if not by showing, at least by evoking them) and establishing their relation with one another, the misunderstandings and provoke curiosity about what will happen later. In the first act, the operetta “Die Fledermaus” shows the apartment of a bourgeois man, perhaps of a social class similar to that of the average audience present in the hall. This is a very important aspect of the Viennese operetta: it will display a state not far from the public, but the public should be able to look at themselves in the presented situations – perhaps exaggerated, difficult in some cases, but not impossible. Eisenstein is certainly a wealthy man, with a lower general culture than that of the people he addresses. This is an important clue, and it is clear from the fact that he and Frank (a public official) are the only non-French speakers, which was the language of communication for scholars in the nineteenth century. It is assumed and this is a confirmation regarding the public’s education that the spectators, on the contrary, knew French. In this first act we begin to imagine what will happen next, but there is no real action, only assumptions are made about the play of further misunderstandings.

Act Two: The characters are all introduced and so can be continued with a game of relative misunderstanding that should not be subject to any interruption or pause, to make the public doubt who this character is. Prince Orlofsky, it is true, appears for the first time only in the second act, but is widely introduced by everyone (perhaps one of the most mentioned in the first act). Orlofsky’s first couplets actually have a different style compared to the Champagne couplet. Also the alternation Strauss makes to the Champagne couplet, with a slow concertato, serves to prepare for the final “popper”. If we were to use a metaphor, the narrative structure resembles an electric charge or a pressure cooker. Dramatic and musical storytelling follows a widely studied linguistic algorithm, for example, at the University of Graz in the early 19th century, just like in the Overture. To understand the pattern that was applied, moving away from “Die Fledermaus”, let’s think of Grisetten’s names in “Die lustige Witwe”. These are not random French names or a result of poetic inspiration. Grisetten’s names follow a sequence in the quality of vowels and the alternation between consonants and glottal sounds, to be analyzed in the horizontal expansion of the period. It is a useful narrative methodology to stir nervosity and excitement in the public. A mistake of many “Die Fledermaus” productions is precisely the excessive amount of added elements and friends at Orlofsky’s party, disregarding the indication algorithm. The acceleration in music and storytelling should also give the idea of a chronological time-lapse, dawn is coming and Eisenstein must be arrested. In the second act Polka Éljen was added to Magyar Op. 332 and Valzer Frühlingsstimmen (op. 410) for ballet.

Act Three: Now an avulsion is needed, and for that, an exclusively recited part is inserted: the intensity of Final II, where in fact, a moment of pause is needed. It cannot be thought for the public to strain its perceptual abilities again without avoiding distraction or confusion. There are no special surprises, but just a great lack of comfort, a systematic sense of sharing dual identities that cause an authentic duplication of personality in respective schemes (in the case of Eisenstein’s character, personality is split into three, when he disguises himself as a lawyer).

Confusion is still present, the public can identify with it, but it is a spectator of a nuisance experienced by the protagonists, not the audience. The only surprise is at the end, when all the characters declare to Eisenstein the deals the made behind his back. All this leads to the latest explosion and here the Champagne couplete is repeated. To be clear, the linguistic algorithm used in many moments of the operetta is comparable to an electrical discharge, or sexual intercourse: The final couplet reaches its peak. This linguistic-narrative system was typical of functional and structural linguistics studies that had great development in the Vienna and Prague schools. Most scholars were Jewish. This obviously favored the scientific study of human language (in all its manifestations), first because the cultural origin is openly opposed to the cult of images (there is a rejection of the image, not only in the sense of “picture”, but also dogma) and the study always addresses only the structure that leads to a result, which is of interest only at the observation level but is not analyzed as a finished product (even the concept of the word “end” for an alive Jew is rejected). Second, for the compulsory study of a language (Hebrew), it is pointless to analyze single words, which, if taken one by one, can cover semantic spheres without having a logical association. The Hebrew language can only be translated into an exemplary form, i.e. in the completed period. On the basis of this form, Einstein’s theory of relativity, similar to operetta’s dramaturgy, was invented.



László Gyükér was born in Miskolc (Hungary), where he began his music education at the Conservatory of Music, to be followed by studies at the Graz University of Music and Performing Arts, singing, and conducting the orchestra.

His artistic activities in 2003 led him to Stadttheater Leoben as a singer, where he began a long-term collaboration with Prof. Horst Zander that lasted until 2012. In 2009, he was the musical assistant to Martin Sieghart and the “Het Gelders Orkest” in the Netherlands in Robert Herzl’s production of “The Merry Widow”.

In fall 2010 – 2012 he was the second Kapelmaester and choir director of the Baden stage. There he was the Music Director of “Zigeunerprimas” (Ins. Robert Herzl), “Gräfin Mariza” (Ins. Isabella Friedtum) and “Eine Nacht in Venice” (Ins. Alexandra Frankmann) and he also conducted “Das Land des Lächelns”, “Schwarzwaldmädel”, “Victoria und ihr Husar”, “Die Dollarprinzessin”, “Annie Get Your Gun” and “Boccaccio”.

Since 2005 he has had a long collaboration with Lehár Bad Ischl Festival Director Michael Lakner. Since 2009, she has worked as a conductor and choir director (2010, 2011, 2015) at the Lehár Festival, with “Das Land des Lächelns”, “Die Csardasfürstin” and “Gasparone”.

In the summer of 2014 he was the Music Director of “Gigi” (Insz. Michael Lakner), in the summer of 2015 “My Fair Lady” (Insz. Isabella Gregor), in the summer of 2016 “Die Fledermaus”, and in the summer of 2017 “Die Lustige Witwe”. He also accompanies soloists and is a pianist.


Dian Tchobanov Conductor

He is the General Music Director at the State Opera – Plovdiv, Bulgaria since the 2013/2014 season.

He graduated from the State Academy of Music (Sofia) in 1997 and from the University of Arts and Music in Vienna, Austria in conducting. His artistic personality has been influenced by Colin Davies, Maestro Fabio Luis and Maestro Michael Halas who is a conductor at the Vienna State Opera.

Dian Tchobanov has been honored with Second Price and the Lovro von Matačić Special Award at the 2003 Zagreb International Conductors Competition. He has been awarded the most important price in the field of music, the “Plovdiv” Award in his hometown.

Dian Tchobanov is the conductor of the Croatian Chamber Orchestra; he has led the Croatian State Opera Orchestra, RSO-Vienna, Arena di Verona Orchestra, RSO-Praha, Budapest Festival Orchestra, Dohnanyi Budapest Orchestra, Budapest Concert Orchestra, Scheonbrun Chamber Orchestra, Kurichiba Symphony Orchestra, Brazil, Cantus Ensemble, etc.

He has directed at several famous music festivals, such as: “Opera Oder-Recreation” Neuzelle, Germany, “Wiener Klangbogen” Vienna, Austria, “Austrian Music Weeks in Bulgaria”, “Varna Summer”, “March Music Days” Russe, Bulgaria, “Songs of Life” Tel Aviv and Jerusalem, Israel, “Summer Nights in Rijeka” Croatia, “Music Biennale” in Zagreb, Croatia, “Weinklang” – Burgenland, Austria, “Opera and Ballet” Stara Zagora, Bulgaria , “Opera Open”, Plovdiv, Bulgaria, “IV International Chamber Music Festival” Yekaterinburg, Russia, 2016, 7th International Music Festival “Palermo Classica” 2017, “Opatija Tribune” – Croatia 2017.

Since 2012, Maestro Tchobanov has been a full-time professor at the East China Normal University of Shanghai, China. Dian Tchobanov works on the most important scenes of European cities, such as Vienna, Budapest, Verona, Frankfurt, Stuttgart, Meiningen, Amsterdam, Rotterdam, Prague, Zagreb, Porto, Palermo, Skopje; also in Izrael’s Tel Aviv, in the US, Brazil and China.