IN THE PRESS: Ukrainian stars spotlighted by opera magazines (01/23/00)

IN THE PRESS: Ukrainian stars spotlighted by opera magazines

by Bohdanna Wolanska

In the past, Ukrainian opera singers in America have either been ignored by the press (as was the case with Anatoly Solovyanenko) or considered to be Russian (as with Adamo Didur). Thanks to the break-up of the Soviet Union, the tide is slowly turning. This month, four Ukrainian opera singers - three currently active and one from the turn of the century - received positive press from two opera magazines.

In its January issue, the upstart grassroots magazine Classical Singer reviewed Opera Orchestra of New York's performance of Donizetti's "Adelle" under conductor Eve Queler (reviewed in The Ukrainian Weekly, November 28, 1999).

In his critique of bass Paul Plishka, critic and author Howard Bushnell's writes:

"At this point in his long and distinguished career, Paul Plishka may be called a veteran artist, with all that the phrase implies. His voice does not give the pure sonic pleasure it once did, but his understanding of both Donizetti's music and the character of Arnoldo was complete, enabling him to perform an effective and moving portrait of Adelia's tortured father."

As for baritone Stephan Pyatnychko, Mr. Bushnell observes:

"The disappointment of the evening regarded another debutant, Stephan Pyatnychko. His part was far too small, and after his appearances in Act I, I noticed audience members scanning their librettos in anticipation of his next arias only to express disappointment - even disbelief - that such were not coming."

"Mr. Pyatnychko - and you had best get used to this name; you are going to be seeing it again - is an unreasonably handsome young man with an extremely beautiful baritone voice. Talents of this caliber do not sing small parts in concert performances, even if they are in Carnegie Hall. They sing leading roles for big fees in major opera houses. They also receive huge ovations. San Francisco will present Mr. Pyatnychko in 'La Traviata,' 'Il Trovatore' and 'Rigoletto,' the other great opera companies will surely follow. Meanwhile, we thank Eve Queler for giving us his first N.Y. appearance."

On the other end of the literary spectrum is the venerable and prestigious magazine Opera News. In the "Opera Watch" feature of its January issue, Ukrainian soprano Oksana Krovytska, who has had the New York opera critics eating out of her hand for the past few years, scored a quadruple victory. She merited a full column of complimentary commentary for herself - it is noted that she "has made Cio-Cio-San something of a signature role" and that her portrayal of the Puccini heroine was the centerpiece of the New York City Opera "Madama Butterfly." And, she also slipped in a mention of Ukrainian composer Virko Baley in whose "Treny (Laments) for Two Violoncellos and Soprano" she was featured.

And, most significantly, she righted two sins of ethno-historical impact (one sin of commission, one of omission) in one blow.

The sin of commission: among world-class Ukrainian opera stars, Salomea Kruszelnicka was probably the greatest. It is a constant source of irritation that she is always referred to as Polish, even in reviews of her recently re-released CD, in which she sings several Ukrainian songs. Letters to editors protesting this blunder have had absolutely no effect.

The sin of omission: Puccini's "Madama Butterfly," one of the most popular operas of all time, was a failure at its premiere performance. After some tweaking and a cast change, it was premiered again to rave reviews and quickly conquered the world. Although the operatic press repeats this story almost every time Puccini or his opera is mentioned, you'd think they took a vow of silence concerning the soprano who made the success happen.

Opera News writes: "The Ukrainian soprano is proud to point out that she is following in the footsteps of her compatriot and idol, soprano Salomea Kruszelnicka, who launched 'Butterfly' into world renown a its second 'premiere' in Brescia, on May 28, 1904."

Now, thanks to Ms. Krovytska, the opera world can read that Kruzelnicka was Ukrainian, and that it was she who saved the second premiere of "Madama Butterfly" and made it what it is today.

To mix in a metaphor from one of my other favorite pastimes, Ms. Krovytska stepped up to the plate and hit a grand slam. A cause for celebration!

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