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The artistic career of one of the brightest opera stars of the first half of the 20th century, Solomiya Krushelnytska (1872-1952), rose with an amazing speed to lofty heights enjoyed but by a few. Diligence was part of her makeup since her childhood in Ukraine. No one forced her (nor did anyone forbid her) to sit at the piano and practice for hours when she was still a little girl. She sang in choirs and conducted. She graduated from the Lviv Conservatory in 1893 with distinction, and even before graduation she appeared as Lenora in the Lviv Opera production of Donizetti's "Favorita". It brought critical acclaim to the young singer.
Less than ten years after this debut, the name of Solomiya Krushelnytska guaranteed triumphal success on the best opera stages of Europe and America. In 1904 she became the legendary savior of Puccini's "Madama Butterfly" -- the opera that at its premiere in Milan's La Scala was harshly booed by the audience. Three months later in Brescia, the leading role was sung by Krushelnytska and the performance became an artistic feast.
Explaining the singer's success as the result of her natural abilities or God's gift does not suffice. Yes, those were part of her personality But she also made her greatness with single-minded determination. Her schedule, during her studies in Milan, included vocal lessons, acting lessons, learning new parts, learning new languages - for six hours every day And her "leisure time" included visits to museums and historic sites, attendance at operatic and theatrical performances. She also maintained active correspondence with friends and acquaintances, covering such issues as the fate of her native Ukraine, problems of culture, recently read books. In addition. Krushelnytska regularly appeared in performances of the music and drama school "L'Armonia".
She burned with sacred fire of art. For her, what some considered difficult work, was a pleasant experience. On tours, she sang in four and five productions during a single week. She could learn a part of a new opera in two days, and develop the character of a role in another three or four. Her repertoire totaled 63 parts. In the history of music, Krushelnytska is known as an active promoter of the works of her contemporaries, and of Richard Wagner. In 1902 she won the hearts of Parisians in "Lohengrin". In 1906 she enchanted the audience at Milan's La Scala in Richard Strauss's "Salome", conducted by Arturo Toscanini. And so it went - in the theatres of Europe, Egypt, Algeria, Argentina, Brazil, Chile and others.
In 1910 Krushelnytska married Italian attorney Cesare Ricchoni. In 1920, at the height of her career, she left the opera, and three years later started concert tours. Her knowledge of eight languages allowed her to include in her concert programs songs of many nations.
In August, 1939, after the death of her husband, Krushelnytska left Italy and came to Lviv, where she also maintained a residence. A few weeks later Soviet forces entered the city under the provisions of the Soviet-German pact. Meanwhile, the new rulers nationalized her townhouse in Lviv and prevented her from returning back to Italy After a time she began to teach at the Lviv Conservatory, now named after her. In 1951 she was named honored artist of the Ukrainian SSR and in 1952 was promoted to full professor at the Conservatory. Her former students and colleagues recall her dignified and humane manner as a teacher. They remember how she cared about every one of her "children", as she referred to her students, always willing to sit at the piano and sing and share her knowledge and experience. Her life was ruled by her values: art and culture for the benefit of Ukraine.
Andriy Kochur
