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SALOMEA KRUSZELNICKA (Ambrosiwna), Soprano, * 23 September 1873 Bilavintsy (Biata) bei Tarnopol in Polnisch-Galizien, † 14 November 1952 Lwów (Lemberg);

26 Aug

(Her names also Kruszelnizki, Kruszelniski, Krusceniski, Krushelnytska, Krushelnytskaya, ihr Vorname Solomyia, Solomia, Solomya, Salome geschrieben). She was part of an old, respected Ukrainian family. Her father was a Russian Orthodox priest. She first sang in choirs and amateur performances, 1892, she took over in Lviv the soprano solo in “Messiah” by Handel. She studied in Lviv at Valery Wysocki and later in 1893 in Milan at Crespi. In 1893 she made her debut at the Opera House of Lviv as Leonora in Donizetti’s “La Favorita,” and then sang in Krakow and Odessa. She graduated in 1895 from the teacher Fausta Crespi in Milan and sang in the 1895-96 season at the Theatre of Cremona, the title role in “Manon Lescaut” by Puccini and Valentine in “The Huguenots” by Meyerbeer. 1896 she was heard at the Opera of Tiflis (Tbilisi) as Leonora in Verdi’s “La forza del destino”. 1897, she toured with the Opera Padovani-Chile, 1898 she attracted in Parma as Elsa in “Lohengrin” and Mimi in “La Boheme” sensation, as in the theater of Cremona. In Italy, they always sang under the name Kruszeniski, in Poland and Russia as Salomea Kruszelnicka. 1898-1902 she was the celebrated prima donna of the Grand Opera of Warsaw (first role: Aida). She was a guest at the Court Opera (Marienskij theater) of St. Petersburg, and in 1902 in Paris. In 1903 she became embroiled in political intrigue as Ukrainian and began first in Russia, then hated in Poland. At a concert in St. Petersburg, she sang in the presence of the Tsar Ukrainian folk songs, what is conceived as a patriotic anti-Russian demonstration in Lviv she gave a speech to the Polish part of the population. She went out again to Italy, where she was in 1903 at the Teatro San Carlo in Naples, 1904 at the Teatro Costanzi in Rome as a guest. She was the one that the Puccini opera “Madame Butterfly” (after its scandalous failure at its premiere at La Scala) by representations of Brescia (1904), then in Bologna (1905) and Turin (1906) led to the final success. She also appeared as a guest in 1902 at the Grand Opéra Paris (Elsa in “Lohengrin”), 1904 at the Teatro Lirico in Milan (Adriana Lecouvreur by Cilea). In 1905 she appeared at the Teatro Comunale in Bologna with the world premiere of “Cassandra” by Vittorio Gnecchi. In 1907 she created at La Scala premiere of Salome in the opera by Richard Strauss, 1909 by Elektra. (Richard Strauss called them “perfect in both games, as Salome such as Elektra”). At La Scala, she was more celebrated as Isolde in “Tristan” and in the world premiere of “Gloria” by Cilea (04/15/1907). In 1911 she sang at the Teatro Massimo in Palermo, the Brünnhilde in “Götterdämmerung” 1906-13 she appeared regularly at the Teatro Colón in Buenos Aires, 1915, she went there again on (title role in Catalani’s “Lorelei”), in 1920 she was heard at the Teatro San Carlo Naples. When her big stage games at that time were the Aida, Tosca, the title heroine in “Adriana Lecouvreur” Cilea, in “La Gioconda” by Ponchielli and Catalani’s “Lorelei”, added to their Wagnerian heroines. In Buenos Aires, she created the Diemuth in the premiere of the opera “Feuersnot” by R. Strauss (1913, in Italian). In 1913 she married the Italian lawyer and politician Cesare Rizzione and lived since then in Viareggio. On 20.3.1915, she sang at La Scala in the world premiere of “Fedra” by I. Pizzetti. In 1920 she was the last time on stage. After they had occurred not long, she took in 1927 a North American tour, in which she sang, especially against Ukrainian emigres. They then settled in Milan as a teacher. In 1936, she was in Lvov (Lviv) concerts. In 1939, she visited her family in Lvov (Lviv) and could not because of the outbreak of World War II to return to Italy. Then she taught at the conservatory of Lwów, where she gave a charity concert again in 1945.

One of the most beautiful soprano voices of her time, the fullness of tone and the dark luster of his voice, the perfection of her phrasing and distinctive sense of style make her speech, her recording career exquisite treasures. This appeared to Fonotipia (Italy in 1906 and 1910) and G & T (the oldest, 1903 recorded in Warsaw, a second series in 1907 in the U.S.). In 1927 in North America made ​​electrical recordings of Ukrainian folk songs, presenting their voice to their original beauty. CD: “The Complete Salomea Krushelnytska” (Marston 2006)

Lit: Arnosi E. & J. Dennis: Salomea Kruszelnicka (in “Record Collector”, 1968-69), M. Holovaschtschenko (or M. Golowatschenko): “Salomea Krushel’nytska” (or “Solonnija Krushelnicka”) (Kiev, 1978-79).

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Posted by on August 26, 2012 in Uncategorized

 

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