SOLOMIYA KRUSHELNYTSKA – UKRAINIAN SINGER OF FEMALE CHARACTERS IN P. TCHAIKOVSKY'S OPERAS

Abstract

Tchaikovsky's operas are universally recognized and sung all over the world. The performances are attended by vocalists from various national singing schools. The first productions of Tchaikovsky's opera abroad began in the 80s of the 19th century, and the composer was present at those performances. The National Opera in Prague was chosen for the European premiere of "Eugene Onegin" and "Queen of Spades". The composer visited the premiere of both his operas (November 24, 1888 and Sept. 30, 1892), and during performance of "Eugene Onegin," Tchaikovsky conducted himself. Both of these opera performances were carefully prepared and Tchaikovsky shared his pretty impression about them in letters. The best impressions were left by the performer of Tatyana – Berty Fjorsterova-Lautererova. During the premiere of the opera Eugene Onegin on the stage of the Hamburg Stadt-Theater (Jan. 19, 1892), the composer's sympathies were again with the performer of Tatyana's part – Katarina Bettak. During the first ten years after Tchaikovsky's death, the opera Eugene Onegin was staged in Darmstadt (1894), Vienna and Hamburg (1897), Berlin (1898), Warsaw (1899), Milan (1900), and the opera The Queen of Spades "- in Warsaw (1900), Vienna and New York (1902). In Warsaw premieres of "Eugene Onegin" and "Queen of Spades" (1899 and 1900), the title female parts was sung by Solomiya Krushelnytska. If Tchaikovsky was alive and could have participated in these performances, it would seem that the impressions from characters created by the famous Ukrainian singer would be the strongest. The brilliant Solomiya Krushelnytska's world-known opera singer career began at the turn of the 19th and 20th centuries, and at the same time P. Tchaikovsky's opera became incredibly popular throughout European and world opera scenes. The young, beautiful and talented singer was perfectly suited to perform Tchaikovsky's young female characters. So in S. Krushelnytska's repertoire appeared Tatiana ("Eugene Onegin") and Lisa ("Queen of Spades"). Critics noted that S. Krushelnytska created her title characters in Tchaikovsky's operas with extraordinary refinement, gave them exaltation, attractiveness, and at the same time they were full of powerful dramatic feelings. Singer's artistic performance was so crafted and well performed that other opera characters were retreated into the background. A particularly flattering press reported on S. Krushelnytska's stage tandem with Baritone Mattia Battistini in the opera Eugene Onegin. The popularity of the Ukrainian singer in the Warsaw Opera (where S. Krushelnytska worked during the years 1898-1902) was so stunning that in Tatiana's part she came out almost weekly, and this brought the theater the largest cash profit. In the season 1902/1903 years, Krushelnytska was singing of Tatiana and Lisa on the stage of St. Petersburg Imperial Mariinsky Theater. The performances were triumphant: the audience was coming to "hear Krushelnytska", critics said impeccable vocal training and drama actor talent of the singer. At Krushelnytska's performances in the Mariinsky Theater there were many Ukrainians who at that time lived in St. Petersburg. The well-known Ukrainian scientist Hilarion Svencytsky, who studied at the Archaeological Institute and attended several performances with S. Krushelnytska, especially remembered her Tatyana in "Eugene Onegin." Solomiya Krushelnytska also performed as Tatyana Laryna from "Eugene Onegin" at San Carlo Theater in Naples (season 1903/1904), at the Opera House in Monte Carlo (season 1916/1917).