VIEWING THE ARTS
by Adrian Bryttan
Modest Menzinsky: the Ukrainian Siegfried
"There is no better Siegfried on the German stage today!" (Köln), "... our National Opera's most popular and most talented singer" (Stockholm).
On April 29, 1934 tenor Modest Menzinsky, one of the finest artists of his day, sang a concert on the Swedish Radio Network. This was to celebrate his birthday over the airwaves with those who had heard him on stage for over 30 years.
As so often in the past, Menzinsky chose to feature his beloved Ukrainian folk songs and art songs by Mykola Lysenko. At the age of 59, the great voice still sounded effortless and beautiful, and no one imagined this broadcast would be his final performance. An avalanche of telegrams brought congratulations from theaters, colleagues, composers, heads of state and opera lovers.
The following day, Menzinsky suffered a cerebral hemorrhage that left him partly paralyzed. The recovery was slow - his speech returned but he tired easily and had to limit his important teaching schedule. As his body struggled to heal itself, he reflected on his life and work.
Over the years, reviews consistently expressed the highest praise: "Menzinsky has reached the pinnacle of his art and truly deserved all the ovations" (Köln), "... a master of singing" (Bonn), "... his Tristan and Siegfried are unrivaled" (Köln), "... much more music in his voice than most tenors who sing Wagner" (London), "... our irreplaceable tenor" (Stockholm).
Although exalted in the leading theaters of Europe, Menzinsky always yearned for his native land. In 1916 he visited a prisoner of war camp in Austro-Hungary. Onlookers reported tears in his eyes as he embraced a 16-year-old Ukrainian boy. Time and again he generously performed for humanitarian, educational and patriotic causes. Throughout his brilliant career, this longing and sadness at the separation from his country weighed heavily.
As time went on, Menzinsky began to experience heart spasms which grew more alarming day after day. The body so rigorously disciplined to sustain all the demanding roles he performed was unable to bear the strain any longer. Thus, a year after the radio broadcast, Menzinsky suffered a second hemorrhage that precipitated his death on December 11, 1935, at the age of 60. Reports of the day indicate the entire city of Stockholm joined in mourning this artist who had brought fame and glory to their National Opera. It was noted that the people joined Menzinsky's Swedish wife and their two sons in their days of sorrow.
Modest Menzinsky was born in 1875 in the town Novosilky in the region of Lviv. From his youth, Modest ("Modzio") was drawn to the rich culture of Ukrainian song and folk music. His father was an educated and patriotic Catholic priest and so it came as no great surprise that young Modest enrolled to study theology at Lviv University. Years later he would tell Swedish reporters how he often sneaked out in the evenings to hear opera performances after a day's study of the Greek, Hebrew and Latin classics. Above all, he loved to sing and even conducted the student choir. He received special permission to take voice lessons at the Lviv Conservatory with Valerian Vysotsky, teacher of such famous artists as Solomia Krushelnytska, Oleksander Myshuha-Filippi, Adam Didur and Josef Mann.
Menzinsky's true calling could not be suppressed. Many years later he joked that there was no hesitation in changing the priest's vestments for the mantle of Lohengrin. In 1899 he resolved to move to Frankfurt am Main for further studies with Julius Stockhausen at the conservatory. With barely enough money for food and lessons - not to mention new clothes or shoes - this was a difficult time for the young student. But after a great deal of dedication and hard work, his naturally beautiful voice quickly grew in volume, range and flexibility, allowing it to effortlessly carry over heavy orchestrations.
The thorough technical and musical training were a solid foundation for the rest of his professional life: "... his Siegfried is magnificent. The singer literally hypnotizes the listeners with his youth, freshness, all-conquering power of his voice and stamina, his natural and fluid movements on stage and the most subtle stylistic nuances" (Köln), "... extraordinary projection, at times deeply inward, at others exploding in laughter, yet always maintaining a beautiful tone quality and strong dramatic accents. In every performance, Menzinsky had a spectacular success!" (Allgemeine Musik Zeitung).
Menzinsky's resounding debut in "Martha" and subsequent performances had attracted the attention of Siegfried and Cosima Wagner. The composer's widow later personally coached him and introduced him to conductor Felix Mottl. And everywhere he sang, the public responded with rousing ovations.
Composer Nestor Nyzhankiwsky wrote that Menzinsky's singing stirred the ear, soul, heart and the mind: "I heard...not the voice, not the singing, but the truth. The vast infinite truth. I didn't hear notes, I didn't hear words, although both were clearer than anything I had experienced before. I thought: 'It had to be so, and there didn't need to be another way. It was impossible for there to be another way.'" A last minute substitution for Lohengrin resulted in a five-year contract at Stockholm's Royal Opera where he relearned many roles in Swedish. King Oscar II often attended Menzinsky's performances and led the cheering through numerous curtain calls. Among the 53 operas in his repertoire were many contemporary works: "Salome," "Elektra" and operas by Schreker and Pfitzner. A true dramatic tenor, his Radames and Otello were as convincing as his Parsifal. The part he sang most often with 165 performances was Tannhäuser, one of Wagner's most difficult roles.
Many directors of opera theaters tried for years to get Menzinsky to leave Sweden. However, it wasn't until 1909 that Menzinsky signed a contract with Köln Opera, one of the leading theaters in Europe. "...with his first performance, Menzinsky erased the memory of all the tenors who had ever appeared in our theater" (Köln). Guest appearances followed in Berlin, London and Vienna. Both Mahler and Weingartner attempted to sign him for the Vienna Court Opera but Köln extended his contract through 1925, an unusually long period for those times.
At the zenith of his profession, Menzinsky still traveled often to Ukraine. He visited his cousin, the ethnomusicologist Filaret Kolessa, gave concerts and recitals, supported talented poor students and musical institutions and even purchased several trembity (alpine horns) for the Stockholm Museum. His avid desire to sing with the newly formed National Opera in Kharkiv was unfortunately not realized. He helped popularize Lysenko's Piano Rhapsody with performers in Germany, among them Percy Grainger. And judging from all accounts, he was also the finest interpreter of Lysenko's songs.
Menzinsky stated in an interview: "For the artist there is a big difference between working abroad and working in one's homeland. Everything I accomplished I attribute first and foremost to my native land which blessed me with a good ear, a voice and love for music. And even though I am respected in other nations, it has always been most important to me that my fellow countrymen did not consider me a turncoat - that I did not renounce my country for the sake of a personal career. An opera singer can easily become a cosmopolite. He may even be proud that many nations will take turns claiming him for 'their own'. But this is a dangerous delusion of fame."
After he formally retired from the stage in 1926, Menzinsky devoted his time to teaching and creating a vocal school for Swedish singers. Among his numerous successful pupils was Arne Sunnegardh, who later became the teacher of Kerstin Meyer, Helge Brilioth and the incomparable Birgit Nilsson.
In 1995 in Kyiv Mykhailo Holovaschenko published a fascinating anthology of the many reviews, letters and eyewitness accounts spanning the life and times of Modest Menzinsky. These create a vivid picture of his early struggles and frustrations, the political intrigues in operatic Vienna and his spectacular triumphs on the greatest stages in Europe. Menzinsky's correspondence with Lysenko, Kolessa, Krushelnytska and others extends over many years. His wide-ranging interests and concerns coupled with a good sense of humor make for engaging reading. Also included are over 100 detailed reviews from his performances and many interviews with the European press. This valuable book deserves to be translated into English.
Menzinsky willed most of his vast musical library and archives to the Shevchenko Scientific Society, but once in Lviv, these materials were separated contrary to his request. Inevitably, the question arises: Why has no one gathered together all the documents and recordings from Lviv, Sweden and elsewhere?
No wonder so few people today know about one of the greatest singers of his era. And why to this day has a grateful Ukraine not established a memorial museum dedicated to her most distinguished son in the operatic world - a true patriot who gave so much of himself for his country and people?
It is regrettable that we had to wait for an Austrian firm, Lebendige Vergangenheit (The Living Past), to issue in1999 a compilation of Menzinsky's recordings. But the 19 arias and five songs, expertly transferred, give us a tantalyzing glimpse into Menzinsky's artistry.
The 1910 and 1911 recordings reveal a big voice, powerful and yet with a very lyrical, sweet quality. His is a crystal clear diction, effortless technique and above all, a flowing line which, never disrupted by superficial emoting, a melodic extension of speech. Menzinsky's acclaimed Wagner is well represented with selections from eight different operas. What is most impressive is Menzinsky's ability to get to the heart of each different composition in a unique way. The verismo "Tosca" and "Pagliacci" arias have a precise laser-like projection and plenty of temperament. The great "Otello" monologues reveal a beautifully shaped and flexible declamation, dramatic and well paced. The "Martha," "La Juive" and "Magic Flute" arias are also stylishly performed. Four Lysenko songs complete the disc. (At least 18 additional Ukrainian songs still await release.)
This CD is not merely an interesting historical artifact. It's a chance to experience the impact of a great and humble (worthy of his name Modest) artist. No one interested in superlative singing from the vocal "golden age" should miss the opportunity to hear these performances.
Adrian Bryttan's e-mail address is [email protected].
Copyright © The Ukrainian Weekly, April 1, 2001, No. 13, Vol. LXIX
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