Characteristics of Classical and Opera Music
What are the Characteristics of Classical Music?
What is Opera Music? News and Updates!
The Characteristics of Opera and Classical Music News and Updates is my personal blog about opera and classical music. It…
- lets you know when new web pages appear on the Yusypovych website, that give you information on the characteristics of opera and classical music
- shares my ideas and thoughts on the composers, singers and musicians following each of my performances at a house of opera, in a concert hall, or on an open air stage
- lets you know what members of the audience (people like you!) think and how they feel after my opera and concert performances.
Enjoy!
P.S. Click here, if you want to read: What is The Opera?
Secrets of Choosing the Best Seats from an Opera House Seating Chart
Opera House Seating Chart
Have you ever looked at an opera house seating chart and wondered where the best seat is?
Perhaps, you are a regular opera enthusiast. And, you are planning to attend an opera performance in an house of opera you have never been to. What are the points you need to consider?
Perhaps, you are a newbie to the world of opera. Would you like some insight on where to start trying out the various seating options?
Click to listen online to opera music from Georges Bizet’s Carmen as you discover how to choose the best seat in the house from an opera house seating chart.
Continue reading about choosing seats from an opera house seating chart.
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A Concert of Ukrainian Music at the Lviv Philharmonia
Ukrainian Music in Lviv
… «Ukrainians possess a huge quantity of classical music. Unfortunately, this music is rarely performed and, as a result, is not well known. Around the world, many countries establish airtime quotas; for example, Canada, Australia, France… Experience in these and other countries has shown that such quotas encourage young performers, composers and authors to create, produce and grow, which subsequently enables the development of high-quality products,» - said Myron Yusypovych.
Putevoditel po Lvovu (www.guid.lviv.ua)
The People of Lviv Honoured the Victims of the Holodomor with Prayer and a Moment of Silence
Lviv Honoured the Victims of the Holodomor
… Flags were lowered to half-mast on all government buldings today. At 4:00pm, a city wide moment of silence was observed. Various diginitaries… placed arrangements of rye and wheat stalks and baskets of flowers at the Holodomor Commemorative Plaque … lit candles in memory of the innocent victims.
… At an evening «Concert-Requiem in Memory of the Victims of the Holodomor» in the Lviv Opera, the orchestra of the S.Krushelnytska Lviv National Opera and Ballet Theatre, under the guidance of Myron Yusypovych, performed works by Yakiv Stepovyy, Yevhen Stankovych, Samuel Barber, Tomaso Albinoni, Ottorino Respighi, Oksana Herasymenko.
… The Commemorative Day for the Victims of the Holodomor is an annual national day of mourning in Ukraine which falls on the fourth Saturday of November. Officially, 24 countries of the international community have recognized the Holodomor as a genocide of the Ukrainian people.
Novyny.Lviv.UA
Tomorrow – A Day of Mourning in Memory of the Victims of the Holodomor
Day of Mourning – Holodomor
Flags will be lowered to half-mast on all government buildings tomorrow. A black ribbon, a sign of mourning, will be tied to all flags on residential buildings…
Symbolic candles will be lit in memory of the innocent victims in the square in front of the T.Shevchenko monument at 4:00pm.
On this day, there will be a Special Commemorative Concert-Requiem to the memory of the victims of the Holodomor in the Lviv Opera …
«As we remember the victims of the Holodomor, we remind ourselves of this monstrous occurrrence in our history and ponder the inadmissability of it ever happening again the future. I am a musician – a conductor. Consequently, on this day I will be standing on the conductor's podium and will be conducting a Concert-Requiem. From time immemorial, music inspired, pacified and united. I invite everyone to join us at the Opera House as we remember the victims of the Holodomor» – said conductor Myron Yusypovych.
Gal-info
«Lviv Virtuosos» Will Perform Mozart at the Lviv Philharmonia
Mozart in Lviv
…Researchers claim that the music of Mozart positively impacts on all living organisms. And so, according to the concert organisors, precisely at this time of the year, attending a Mozart concert is a safe and pleasant way to fight off seasonal depression…
The program includes Symphony №39, as well as fragments from Mozart's operas The Marriage of Figaro, Don Juan, and The Magic Flute. Myron Yusypovych conducts…
ZIK
Young Opera Singer Tackles Difficult Bass Role
Young Opera Singer Yevhen Orlov
In opera, the bass voice is usually reserved for majestic, aged and pompous characters. As a result, bass roles are not usually associated with young opera singers.
Click to view an opera video clip of a young opera singer, Yevhen Orlov, performing the bass aria of King Rene from the opera Iolanta by Piotr Ilyich Tchaikovsky.
The role of King Rene is a difficult role to sing for a young opera singer. In it, the young singer must portay a character that is much older than he is himself.
In preparing for the role of King Rene and particularly the scene in the opera video clip, the young singer needs to portray the emotional struggles of a father’s love for his daughter. These are emotions that are not common for young people and will probably require a great deal of preparatory work.
Continue reading about the young opera singer Yevhen Orlov.
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The First Belgian Soprano Performs at the Lviv Opera
Belgian Soprano
On the occasion of the 180th Anniversary of the Belgian monarchy, Karen Vermeiren charmed the audience with her vocal mastery….
The Honorary Consul of the Kingdom of Belgium in the City of Lviv, Mr. Yaroslav Hartsula, addressed the audience with official greetings…
The evening was By Royal Command – Celebrating Belgium. The opera singer was accompanied by the Lviv Opera Orchetra. Myron Yusypovych conducted…
Under Karen Vermeiren's soprano, the audience immersed itself first, into the humorous motif's of Mozart's The Marriage of Figaro and Don Juan and then, into the lyrico-tragic arias, where the singer transformed herself into the various heroines. In her voice, we sensed Cio-Cio San from the opera Madama Butterfly by Puccini, Elisabeth from Wagner's Tannhäuser and Rusalka from Dvorzak's opera. With bated breath, the audience experienced the incredible musical tension present in the performance by the orchestra of a ballet suite fragment from the opera Faust by Gounod and The Stolen Happiness by Mejtus. At the end of the eveing, Karen Vermeiren delighted and surprised the Lviv audience, when she performed On a moonlight night in Ukrainian.
Vysokyj Zamok
/Anna Sventakh/
Honouring the Belgian Monarchy on their National Holiday in Lviv
180 Years of the Belgian Monarchy
Myron Yusypovych: During orchestra rehearsals some of the better musicians of the orchestra, those who have seen and heard a lot, came up to me absolutely delighted. «Listen, to how she sings», they said. Truly, her voice is like a fine instrument. Her voice is clear. She isn't simply belting out a great sound and holding her fermatas. She plays with it. She has control over it.
Voice-over: This soloist has Ukrainian roots. Her grandmother was from the village of Oleksandrivka in the Zaporizhia region of Ukraine. During WWII she emigrated to Germany, and subsequently to Belgium. Nevertheless, for Karen, this is her first trip to her ancestral homeland.
Click to view the video-report (in Ukrainian)!
Lviv24 News
/Marichka Kryzhanivska, Oleh Kukhar/
Definition of Opera
Opera is Music
What is a simple definition of opera? A dictionary definition of opera? Opera defined from an Italian perspective? Opera defined from a contemporary opera organization’s point of view? An opera conductor’s perspective on the definition of opera?
Click to listen to the famous Toreador Song and March from the opera Carmen by Georges Bizet as you discover the many definitions of opera.
Continue reading: Definition of Opera.
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12 Interesting Fun Facts About the House of Opera in Lviv, Ukraine
Lviv Opera House
The Lviv House of Opera is a unique cultural, historical, architectural and social institution.
Situated in the Western regions of Ukraine, the Lviv Opera House celebrated its 110th Anniversary in 2010.
Continue reading to discover the interesting features of the Solomija Kruszelnicka House of Opera and Ballet in Lviv, Ukraine.
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Festivities and Festivals at the Philharmonia
Festivals in Lviv
The IV International Chamber Music Festival, at the Lviv Philharmonia is over….
and, already on September 30, The 17th International Festival of Contemporary Music will begin….
«The Festival Contrasts aims to present contemporary Ukrainian music in the greater world context. This Festival enables the listener to experience the many facets of our time through the medium of music.» – explains Myron Yusypovych, conductor and Festival Contrastsparticipant.
Vysokyy Zamok
/Orysia Khomiak/
An Evening of Classical Music at the Dnipropetrovsk Philharmonia
Classical Music in Dnipropetrovsk
…The Philharmonic Orchestra will perform a concert of Memorable and Graceful Waltz Music. The bewitching soprano, Natalya Dytiuk, as well as the talented conductor, Myron Yusypovych, are sure to satisfy classical music fans with the thrilling and immortal masterpieces of J.Strauss, M.Glinka, P.Tchaikovsky and others.
Kultura – Dnipropetrovsk
Did Leoncavallo Lie About Where He Got the Idea for the Clown Opera Pagliacci?
The Leoncavallo Opera
Ruggero Leoncavallo was slapped with a lawsuit for plagiarizing the plot for the opera Pagliacci. In his defense, Leoncavallo claimed that the opera plot was based on a childhood experience.
But, evidence seems to suggest that Leoncavallo lied. There are a lot of similarities between the works of:
- Spanish playwright Joaquin Estebanez
- French playwright Catulle Mendes
- French playwright Paul Ferrier
- Italian-French actor-writer Tabarin
and the plot of the opera Pagliacci by Leoncavallo.
View an opera video clip and continue reading about the controversy surrounding Leoncavallo and the clown plot for Pagliacci.
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Soviet Opera MusicNotes
Soviet Opera
In 1986, I interned at the Kirov Theatre in Leningrad as a young conductor. At that time, I had the opportunity to visit the Central Music Archives of the USSR Composers’ Union in Moscow. I remember, that at that time there were at least 8 operas by Uzbek and Tadzik composers about the heroic antics of communal farm peasants working the cotton fields.
During the USSR period, a great number of Soviet operas, symphonies, oratorio and cantatas were written. But, after the disintegration of the Soviet Union, only a relative few of these musical compositions have continued to be performed.
Why have they been shelved?....
Continue reading and listen to an excerpt from an opera written during the Soviet period.
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The Intermezzo in Puccini Operas
Puccini Operas
According to Puccini’s plan, the musical orchestral episode – intermezzo, which introduces Scene 2, Act 2 of the opera Madama Butterfly, doesn’t have an ending.
This brilliant episode in Puccini’s score, has bothered and intrigued me for many years. It even inspired me to write several lines of poetry that became part of my Reflections on the Opera.
In time, an opportunity came up and I was motivated, once again, to reasses how to include this musical fragment in a concert.
Continue reading and listen to the Intermezzo from Puccini’s Opera Madama Butterfly.
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A Young Male Opera Singer in a Young Artist Program
Young Male Opera Singer
In Lviv, Ukraine a number of young opera singers can improve their performance skills as they work under the guiding hand of Myron Yusypovych.
As a participant in a young artist program, Serhiy Sevastyanov, a young male opera singer, had the chance:
- to receive specialized individual vocal coaching
- to sing a prepared aria in recital
- to perform the opera aria in concert with an professional orchestra.
Click to view an opera video clip of the two performances. A young male opera singer sings Varlaam's «Drinking Song» from the opera Boris Godunov by Modest Mussorgsky.
Continue reading: Young Male Opera Singer – Serhiy Sevastyanov
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The Citizens of Lviv Remember the Victims of 1941
Lviv Remembers the Victims of 1941
…exactly 70 years ago, between May and July 1941, two totalitarian ideologies, communism and fascism, battled for supremacy. The citizens of Lviv had the misfortune to experience the full brutality of each regime. The local population, people of many different nationalities, became the victims of this ideological battle. And so, it is the responsibility of every one of us, who is alive today, to honour their memory and to remind ourselves about potential current threats – emphasized M.Yusypovych.
He explained why he specifically chose Symphony №14 by Dmitri Shostokovich. In this piece, the composer was able to to express the feelings of an individual, who had personally experienced the horrors of the totalitarian regimes of the 20th century through a synthesis of words and music….
Ninel Kysilevska UKRINFORM
Young Opera Stars
back l-r: Amartuvshin, S.Battumur, M.Kublashvili, M.Yusypovych, A.Derouard, E.Deleu. front l-r: A.Lavrov, S.Molchanov, M.Chotabaev
On June 10, 2011, at the Lviv Philharmonia, we experienced a concert of young opera singers that, without exaggeration, can be called an event of high artistic merit.
Five young opera singers, winners of various international vocal competitions, performed a solid program from the classical opera repertoire.
Every member of this brilliant group of five presented a clear and full opera voice. Each had a unique vocal timbre. But, it wasn't just their voices. In addition to demonstating an extremely high level of vocal mastery, clarity and expression, they portrayed extraordinary elegance and stage presence. When you consider that these young performers are in their early 20s, it becomes even more incredible.
I fully appreciated all five: Medet Chotabaev (tenor), Amartuvshin Enkhbat (bass-baritone), Maria Kublashvili (coloratura soprano), Alexei Lavrov (baritone), Anne Derouard (dramatic soprano). However, the singer from Mongolia deserves special mention.
The performance by 24 year old Amartuvshin of Rigoletto's aria «Cortigiani, vil razza dannata» from G.Verdi's opera was a revelation and a bombshell. And, I mean this as an experienced conductor. For me, it was that rare occurrence when all nuances of the opera character's portrayal were met. The young bass-baritone fulfilled all of the norms and requirements of classical opera, while maintaining a true Verdi style of vocal performance.
I predict that no matter how much Amartuvshin may love the great expanses of his homeland, he will not remain in Ulaanbaatar for long. There is a great world waiting to discover him.
My hope is that, in the not too distant future, when he travels from Mongolia to some Staatsoper or Teatro Dell'Opera, he makes a small detour and, once again, visits Lviv.
What About Opera Tenors?
6 Opera Tenors in Poland
In the opera world, opera tenors hold an esteemed position. Many would agree that the opera tenor (or, at least those tenors, who truly sparkle) are «the icing on the cake» in any opera performance.
Since The Three Tenors in Concert project propelled the opera tenor to international fame, the popularity of opera tenors has skyrocketed around the world. Suddenly, people who had never previously listened to opera music, decided they like it and wanted to attend a performance.
I have had the opportunity to entertain an audience wanting to listen and see the tenor perform in concert. The success of such shows was practically guaranteed. In my experience, this phenomenon is the same everywhere – Canada, Poland, Germany and Ukraine.
Continue reading: MusicNotes on Opera Tenors
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If Young is Under 25, then Young Opera Singers are Actually Old
Young Opera Singers with Conductor Myron Yusypovych
It’s become the newest craze: 10 yr old, 12 yr old, 14 yr old opera singers. YouTube is bursting with videos made of young opera singers at various vocal competitions performing arias and songs from well-known operas.
But, how old were famous opera singers when they made their operatic debuts?
Shirley Verrett (May 31, 1931 – November 5, 2010), a black opera singer, was 27 years old
Luciano Pavarotti (October 12, 1935 – September 6, 2007), an Italian opera tenor, was 26 years old
Joan Sutherland (November 7, 1926 – October 10, 2010), the Australian dramatic coloratura soprano, was 25 years old
Modest Menzinsky (April 29, 1875 – December 11, 1935), a famous European tenor, was 26 years old
Ira Malaniuk (January 29, 1919 – February 29, 2009), an Austrian and Ukrainian mezzo-soprano, was 26 years old.
Continue reading about how old, young opera singers really are?
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The Angels of the Baroque Period Invite You to Lviv for a Concert
Baroque Period Music Concert
Visit the Johann Georg Pinzel Museum and view the art of the baroque period.
Go to St. George's Cathedral or the Church of the Blessed Sacrament (Dominican Church and Monastery) and get a sense of baroque architecture…
Come to the Lviv Philharmonia for a baroque period music concert….
«During the baroque period, the audience sat on stools or benches. Chairs, as we know them today, were not invented until the late baroque period. Of course, audiences today, as compared to our ancestors of yesterday, can sit comfortably on the new seats at the Lviv Philharmonia and enjoy our concert of baroque period composers and music», said conductor Myron Yusypovych.
Art-Vertep
A Bit About Classical Music Composers
Classical Music Composers
While reviewing some of my video clips from past concerts, I stumbled onto a performance recording of the Overture to Ruslan and Ludmila and the orchestral suite Waltz Fantasy by Mikhail Glinka.
Once again, as numerous times in the past, the thought came to me: How unaffected is Glinka’s genius and yet how clear and profound. He is able to portray so much using a modest and traditional orchestra!
While contemplating such thoughts, I recalled one well known quote by the composer of Ruslan and Ludmila in reference to Joseph Haydn’s music “And I didn’t chop off this hand, which has taken upon itself to write music after such great creations!”
Continue reading Notes on Classical Music Composers and view a music videoclip.
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Come, Listen to Classical Sacred Music, as We Begin Holy Week – Myron Yusypovych
Classical Sacred Music
During the Season of Lent, the well known liturgical hymn «A Mother's Sorrow» (Stradalna maty) is sung in our churches.
The mournful Mother stood by the cross,
Weeping, mourning through her tears:
«O my dear Son, for what sin, what wrongdoing
Do you suffer such agony
On the cross?»
«Interestingly, the musical composition Stabat Mater, by G.Pergolesi is not as well known to the public-at-large in Ukraine. This, in spite of the fact that during the 18th century, this piece was a «bestseller» and was regularly performed in the western world. It is worth noting that both the well-known Ukrainian hymn (Stradalna maty) and the sacred work (Stabat Mater) are taken from a literary piece popular during the Middle Ages. Who wrote the original Latin words is under dispute» – explained Myron Yusypovych.
kultura.lviv.ua
Some Thoughts on Young Conductor Training
Conductor Training
The profession of conductor, as compared to that of instrumentalist or singer, is a relatively new phenomenon. About 200 years ago, no one would have dreamed of standing in front of the musicians holding a baton over their heads.
To my mind, we can compare the education and training of young conductors, as well as the profession of the conductor as a whole, to an iceberg. Knowing how to «wave the arms», the specific technique of conducting, is only the surface part. Real conducting is hidden beneath the surface.
The profession of conductor entails the highest skills of performance both in technique and spirit, as well as, the most opportunity for complete and total quackery.
Continue reading: Classical MusicNotes on Young Conductor Training
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A List of 10 Famous Italian Operas Everyone Ought to Know
Famous Italian Operas
Many of us, when we hear the word “opera”, instantly think of famous Italian operas.
Where did opera originate? In Italy.
Who wrote the first opera? An Italian.
Who invented opera? The Italians.
Who started opera? The Italians.
What do the names Amilcare, Giuseppe, Gioachino, Gaetano, Giacomo, Pietro, Ruggero, Vincenzo have in common?
Continue reading about the fascinating world of famous Italian operas
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Peter Ilyich Tchaikovsky – a Russian Musical Phenomenon?
Peter Ilyich Tchaikovsky
Peter Ilyich Tchaikovsky would have been 170 years old on May 7, 2010.
Curiously, this purely Russian form of addressing someone by their name, patronymic and surname is applied to this particular composer mostly in the West. Alexander Borodin, Sergei Rachmaninoff or Nikolai Rimsky-Korsakov are known by their names and surnames. And yet, there is an insistence on using Pyotr Ilyich Tchaikovsky. Obviously, this tendency comes from a desire to emphasize the Russian tradition of addressing someone.
And so, I, once again, throught about the Ukrainian roots of this musical genius and composer.
Although, I am interested in the specific details of the composer's ethnicity, I am more interested in understanding the phenomenon of P.Tchaikovsky and his relationship with the Russian music tradition. After all, Tchaikovsky's music is different from the music of other Russian composers. So, what, if any, is the relationship?
Continue reading: Classical MusicNotes on Peter Ilyich Tchaikovsky
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Famous Female Opera Singers
Female Opera Singers Ira Malaniuk, Lisa della Casa
Mezzo soprano Ira Malaniuk (1919 – 2009) was:
- awarded the prestigious Kammersängerin award twice
- performed as resident soloist in Zurich, Bayreuth, Munich and Vienna
- toured North America, South America and Australia.
Malaniuk performed with the Swiss soprano Lisa della Casa:
- in the world premiere performance of Die Schwarze Spinne (The Black Spider) Zurich Opera House (Stadttheater) – composer Willy Burkhard, librettist Robert Faesi in 1949
- at the season premiere, opera theatre in Zurich in Erwin und Elmire – composer Othmar Schoeck in 1949-1950
- at the innaugural orchestra concert, Salzburger Festspiele under the musical direction of Bruno Walter in 1956.
According to her personal autobiographical calculations, during her opera career Ira Malaniuk performed:
- 270 times as a soloist at the Volksoper Wien
- 212 times as a soloist at the Vienna State Opera (Wiener Staatsoper).
Click to listen to the voice and to read about Ira Malaniuk – a great among female opera singers.
Have We No National Pride?
National Pride?
Who and where can best perform the opera Norma by Vincenzo Bellini?
Even taking into account contemporary processes of cultural inclusion, integration and globalisation, performing the works of Italian composers remains a priority for Italian opera houses and performers, who focus on the traditions of bel canto by Bellini, Donizetti and Rossini…
Granted, perfoming Bellini operas is not the exclusive right of Milan. Neither are any of the other national composers the sole prerogative of their national state. Sydney, Toronto, Moscow and, of course, Kyiv have an obligation to their audiences to provide a variety. But, is it really necessary to grant the highest Ukrainian state award in the field of culture, the National Taras Shevchenko Award for a production of Bellini's opera Norma?
Continue reading:
Myron Yusypovych Presents Young Opera Singers
Young Opera Singers
15 young opera artists (13 singers and 2 conductors) will perform a unique concert program at the Lviv Opera House on Friday, March 18, 2011 at 6:00pm. The evening's artistic direction is in the hands of the experienced conductor, Myron Yusypovych.
«Famous opera houses around the world, such as the Metropolitan Opera and the Canadian Opera Company in Toronto, have special programs that nurture, stimulate and engage young performers. Ukraine has some incredible voices. If we want opera in Ukraine to develop and grow, it is imperative that we create a variety of opportunities for audiences to get to know and love our talented young people» – said Myron Yusypovych.
13 young opera singers will participate in the concert: sopranos Tetiana Olenych, Lyubov Kachala and Veronika Kolomishcheva; mezzosopranos Marfa Shumkova, Yana Voytyuk and Lyubov Dika; tenor Vasyl Sadovskyy; baritones Yuriy Shevchuk, Ruslan Ferants, Peter Radejko, Andriy Benyuk and Vitaliy Zahorbenskyy, bass Ihor Nazarov. Additionally, Andriy Savka, an experienced tenor has agreed to help out.
The first part of the concert will be conducted by young conductors Oleksandr Slobodyan and Roland Marchuk. In the second half, Maestro Myron Yusypovych will be on the conductor's podium.
«For the Lviv audience, this is a unique opportunity to hear and experience 14 different opera singers over the course of 2 hours. Everything will be staged according to the traditions of the house of opera – full orchestra, lights, costumes» – explained Myron Yusypovych and invited everyone to the concert.
An Enchanted Evening from Lviv at the Cultural Centre in Lancut
Enchanted Evening in Lancut
On Saturday, at 6:00pm, there was a concert in the Lancut Cultural Centre. Lviv Opera and Lviv Philharmonia soloists and musicians performed An Enchanted Evening from Lviv.
This evening, well-known artists of the Lviv Opera and Lviv Philharmonia performed before the Lancut audience: the orchestra under the direction of Myron Jusypowicz and opera singers – Natalia Dytiuk, Piotr Radejko and Vasyl Sadovski.
The evening included works by famous composers Johann Strauss, Giovanni Battista Pergolesi, Franz Lehar. The audience had the opportunity to listen to the arias «A Lively Spirit» (Als flotter Geist) and «Lips Stay Silent» (Lippen schweigen). Also included were songs from the popular Lviv repertoire were included. The audience reacted enthusiatically to Hej Sokoly (O, Falcons!), a favourite and widely appreciated song on both sides of the Polish-Ukrainian border. The commentary, that accompanied the pieces, added considerably to the audience's music appreciation.
«It was an absolutely wonderful evening. I feel uplifted and I'm sure this feeling will stay with me for a long time,» – commented a member of that evening's audience.
Lancut partook in a cultural experience today. During the 2 hour concert, the audience had the opportunity to immerse itself in the world of opera and operetta, to listen to the sound of this extraordinary music. For the audience that filled the hall, An Enchanted Evening from Lviv became an opportunity, albeit for a short time, to disengage from daily cares and blissfully float along with the instrumental melodies.
Wiadomości 24.pl Gabriela Blajer
Click to view a videoclip and report from Polish TV of the concert in Lancut, Poland.
Continue reading:
Myron Jusypowicz Performs Opera and Classical Music in Poland
Myron Yusypovych Discusses the Job of the Opera Prompter
Job of the Opera Prompter
For the past 50 years, it has become traditional in our opera theatre that the job of the prompter is a jump-off point for future conductors. It is good for a conductor to spend time in the promoter's box. This is excellent experience. Personally, I spent 4 years there while a student at the Conservatory…
The job of the prompter in an opera theatre involves not just sitting and prompting. If we compare the opera singer to a dramatic actor, then in an opera the singer finds himself in stressful situations much more frequently. A dramatic actor has more freedom since he or she is not bound by the music. An actor can pause, stop, stretch out or speed up the text. In an opera, on the other hand, everything depends on the score. The prompter guides the entry and the words for the opera singer, allowing the singer the freedom to concentrate on portraying the character….
The timbre of the prompt has to be between a whisper and a regular voice. Interestingly, on some old recordings of Italian productions at LaScala, the work of the prompter is very audible. Indeed, as a conductor standing on the conductor's podium, I can hear who is working in the prompter's shell.…
When I worked in the prompter's box, I felt like a flight dispatcher. For, when an an extreme situation occurs on stage, a good prompter can save the entire performance…
Valeriya Radziyevska, Krajina (The Nation)
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Maestro Yusypovych Sells Out Once Again
Yusypovych Sells Out
…Myron Yusypovych brought in a sold-out crowd for the Tenors BEL'CANTO concert…
Vasyl Ponayda, Roman Trokymuk, Taras Hloba and Roman Antonyuk performed…
Under the direction of conductor Yusypovych, the orchestra performed the J.Strauss Tritsch-Tratsch Polka absolutely brilliantly and the audience was exhuberant.
«It is thrilling to be able to conduct such concerts and to showcase Lviv talent. And most importantly, the Lviv audience appreciates it», – said Myron Yusypovych.
U Lvovi (ulvovi.com)
One Project Achieves a Harmony of the Spheres in Lviv
У Львові гармонія сфер
The Ukrainian conductor, Myron Yusypovych, has produced an art project, Spheres of Harmony, on the stage of the Lviv National Solomiya Kruszelnicka Opera and Ballet Theatre. The artistic vision of this opera and symphony conductor is to present classical music to people who believe that, because they are not sufficiently musically educated, they don't understand opera or symphonies and, as a result, don't make it a point to frequent the theatre. The production is a unique world premiere of musical-art theatre – the visual in sound. A grand spectacle is created through the combination of three artistic spheres: music, art and light.….
Larysa Marchuk, Viche – A Journal of the Verkhovna Rada of Ukraine
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Lviv Cultural Events' Audit (December 2010 – January 2011)
Serenade Music of Spring
Serenade Music
Serenade Music of Spring will be presented on February 27 in Lviv. This concert will take place at the Lviv Oblast Philharmonia. The Chamber Orchestra Lviv Virtuosos will perform. Myron Yusypovych will conduct. The concert program includes pieces by Franz Xaver Wolfgang Mozart, Antonin Leopold Dvorak and Valentin Silvestrov. The Serenade Music of Spring concert will begin at 6:00pm.
PRO
A Poetry Forum Held in Lviv
Poetry Forum
On the occasion of «International Mother Language Day», Myron Yusypovych participated in a National Poetry Forum «Ukrainian Mother Language», which took place in Lviv, Ukraine on February 21, 2011. About 70 community activists from different cities of Ukraine travelled to Lviv for the event.
For 6 hours, participants could listen to poetry and literary works, singing and music by authors, poets and musicians from all of Ukraine in the Great Hall at Lviv City Hall.Myron Yusypovych read his poems that have been published in two anthologies: Why Bother Picking up a Violin? and It's Not Just Love…
The organizors posted the presentations on YouTube. Myron Yusypovych can be seen at the 3:31 mark.
Click to view a videoclip of Myron Yusypovych reading his poems YouTube.
Lviv Cultural Events' Audit (December 2010 – January 2011)
Lviv Cultural Events
An absolutely brilliant idea where one project combines music, scenic design and lights. Our respects to Myron Yusypovych, idea creator! Of all the «spheres», the most harmonically joined were music and Yevhen Lysyk's scenic designs)… On the whole, a rare project that is extremely interesting and worth persuing, hopefully making it into a yearly tradition. This would allow for a more complete performance, as well as a wonderful opportunity to see the unique canvases of a wonderful theatre artist, to listen to beautiful music and to enjoy the play of lights. In short, to become immersed in the «harmony of the spheres».
Centre for Cultural Management
/Natalka Kosmolinska, Bozhena Horodnytska, Taras Fedorchak, Kateryna Slipchenko, Lida Melnyk/
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Join Us at the Lviv Opera House for Spheres of Harmony
Spheres of Harmony – Music and Art
The World Needs a Museum to House Yevhen Lysyk's Masterpieces
Open Air Music and Fireworks Concert
Fireworks Concert
A fireworks concert on an open air stage is very popular with audiences during the summer months of July and August.
The most popular classical music pieces for a fireworks display are:
Music for the Royal Fireworks by Georg Frideric Handel
The Stars and Stripes Forever by John Philip Sousa
The 1812 Overture by Piotr Tchaikovsky
Ride of the Valkyries by Richard Wagner
Polovetsian Dances by Alexander Borodin
The first recorded performance of fireworks and music was in the 18th century. It was an expensive undertaking.
Today, purchasing fireworks is easy. And so, local festivals and celebrations often include fireworks at the end or finale of free outdoor concerts.
Click to view a music videoclip of a fireworks concert finale at an open air music event.
Singers Sing Opera in Ukraine at Open Air Concerts
Opera in Ukraine
Opera and classical music are part of the popular culture in Ukraine.
The opera Zaporozhian Cossack Beyond the Danube by the Ukrainian opera composer Semen Hulak-Artemovsky (1813 – 1873) is considered to be the first opera with a Ukrainian language libretto.
One of the most famous and popular parts of the opera, enjoyed by audiences in Ukraine, is the duet between the wife-husband duo of Odarka – mezzosoprano and Karas – bass.
Click to view a music videoclip of an open-air concert performance of this opera duet in Ukraine.
2010 – The 110th Anniversay of The Lviv House of Opera
Lviv House of Opera
Today, the Lviv House of Opera is considered one of the most beautiful theatre buildings in Europe. And, notwithstanding all the economic and political crises, it is restored and renovated. Unrivalled by other attractions in the city, it remains a focal point for visitors to Lviv.
If we review the history of the Lviv House of Opera, we can differentiate two distinct periods in the theatre's development. Interestingly, they parallel the city's 20th century history.
During the past 110 years, the Lviv House of Opera went through a European period and then through a Soviet period. From 1900 to 1939, the city alternated between Austrian and Polish rule. From 1941 to 1944, during the war years, it was under German rule. From 1944 to 1991, the city and the theatre went unerwent their Soviet period.
In the first period, the European phase, the house of opera was known as the «Great Theatre». At that time, singers and conductors of world calibre were regularly engaged to perform at the theatre. Travel to Lviv from the many European capitals was not a problem. As a result, Ettore Bastianini, Modest Menzinsky, Salomea Kruszelnicka, Ruggero Leoncavallo, Gustav Mahler and many world famous singers and artists performed for the Lviv audience.
Then came the second period – the Soviet phase. Geographically, the City of Lviv found itself on the perifery of the USSR. Noone travelled to this area. And, no less tragic, and in particular when refering to the better soloists and conductors of that time, noone travelled beyond «the iron curtain».
I am deeply convinced that this was a great loss. It was a loss for those bright and sometimes unique artists, who couldn't get out. And, it was an unreparable loss for Europe and the entire musical world, who were unable to hear what this area had to offer.
On the part of Moscow, there was no interest in allowing the former «Great Theatre» to flourish. By political design, it was to become a provincial house of opera and ballet. Western Ukraine was politically a problematic region of the USSR and was to be relegated to provincialism. Even those famous opera singers from the West that were invited by Goskonzert and the Soviet Ministry of Culture, albeit infrequently, travelled no further than Moscow, and sometimes Leningrad. Lviv was not on the tour map.
In 1991, with Ukraine's Declaration of Independence and the changed political climate, everyone expected positive changes. At that time, Ukraine's population proclaimed its European allegiance and direction for development. In the case of the theatre and opera, this was indeed cause for optimism.
Unfortunately, it was not to be.
Every day, we hear declarations about the desire to become closer to Europe, to become a part of its life, its cultural traditions and cultural processes. For Lviv, this would be natural and possible. But its not that simple. The Soviet legacy has retained a firm grip on the city and country as a whole. And, the Lviv House of Opera remains an ideal mini-model of the State in which it functions and through which it is financed.
With the clink of celebratory champagne glasses, I want to say something pleasant. After all, I want to believe that the return of the Lviv House of Opera to the European fold will occur in the not too distant future.
And so, I toast without irony – «Forward to our European past!»
The Lviv House of Opera and Ballet Receives a Gift
Gifts for Lviv House of Opera
…Borys Viktorovych (Kolesnikov) visited Lviv with a new gift. This time, a set of eleven wind, brass and percussion instruments manufactured by some of the leading musical instrument producers of the world was presented to the S.Kryshelnytska Lviv National House of Opera and Ballet.
The value of the instruments is over 800 thousand hryvnias (approx. $100 000 USD). The gift includes a bass-clarinet, a trumpet, a French horn, copper tympani (an instrument similar to four Kozak tulumbas), orchestral bells, marimba, a gong etc. The theatre musicians are indeed pleased. It seems that many of these essential instruments were not available in the orchestra and needed to be loaned for performances.
And so, the official moment of handing over the instruments arrives. In the audience, we see most, if not all, of the opera's personnel, journalists and seated in the main box – the head of the Lviv Regional Administration – Mykhailo Tsymbaliuk and Lviv City Mayor – Andrii Sadovyy. On stage, we have the Lviv Opera House orchestra under the direction of Myron Yusypovych and the event's two «stars» - Borys Kolesnikov and Tadej Eder. The instruments are displayed in the forefront…
Join Us at the Lviv Opera House for Spheres of Harmony
Spheres of Harmony in Lviv
Spheres of Harmony is a unique production, a world premiere, of musical art theatre – the visual in sound.
In antiquity, Aristotle claimed that the movement of the heavenly spheres, in addition to being harmonically ordered and logical, produced a harmonic tone and the «music of the spheres» created a virtual harmony of sound.
The tree of life represents another standard of harmony from time immemorial. In Ukrainian culture, our great-great-great-grandmothers recreated the tree of life on embroidered cloths. Here, we see the mathematical harmony of the prehistorica tree of life's 11 spheres.
Spheres of Harmony is a musical production from the repertoire of some of the world's great classical composers: Wagner, Khachaturian, Lyatoshynsky, Berlioz, Prokofiev, Shostakovich, Barber, Respighi.
Spheres of Harmony is a visual production of unique Lviv art, seen through the eyes of scenic designer Yevhen Lysyk and his students, Tadej Ryndzak and Mykhajlo Ryndzak.
Spheres of Harmony is a philosophical production that compels us to reexamine our own personal life path through the prism of the tree of life: the coming, bacchanalia, true love, the pendulum of life, vanity's march, darkness, invasion and catastrophy, repentance and prayer, farewell, a dream land, the way.
On December 24 and 25, 2010, one third of the earth's population will be celebrating the coming of the Saviour. As the calm of the Christmas night settles upon us, those who come to the Lviv Opera House will have a unique opportunity to join with the global Christian family.
For everything begins with «The Coming» of the Christ Child, or the saviour-warrior as portrayed by Lohengrin, or each of us and ends with «The Way» that leads to eternal life.
«Music, art and light are born of the same spiritual seed and together forge our Spheres of Harmony» - says Myron Yusypovych, project creator.
Listen to «The Coming» - the Introduction to the opera Lohengrin by Richard Wagner, conducted by Myron Yusypovych.
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A Christmas Gift of Harmony For the People of Lviv
Spheres of Harmony – Music and Art
The World Needs a Museum to House Yevhen Lysyk's Masterpieces
A Christmas Gift of Harmony For the People of Lviv
A Christmas Gift of Harmony in Lviv
The circumstances of history can be strange.
According to Christian tradition, Jesus Christ, the Saviour, was born during the longest night of the year, at the time of the winter solstice.
Most Christians around the world will celebrate Christmas on December 24 and 25. On the other hand, about 10% of Christians, including many Ukrainians, will welcome the newly-born Christ-child into their homes on January 6 and 7.
For the citizens of Lviv, who consider themselves Europeans and citizens of the world, this disharmony is rather discomforting. After all, although Lvivites love and take pride in their uniqueness and individuality, they don't want to be simply bystanders to world events.
And so, on the nights, when one third of the world's population (2 billion Christians) will be marking the birth of Christ, Myron Yusypovych has planned a unique gift for the citizens of Lviv.
On December 24 and 25, 2010, as the peace of Christmas descends upon the Earth, the citizens of Lviv will have the opportunity to join in spiritual harmony with the Christian family around the world, through a unique experience of music, art and light.
Why? Because it's Christmas time – a time of rebirth, gifts, surprises and joy.
Come join us!
If You Are A Beginner to Opera, Pagliacci is The Opera to See
Clown in Opera Pagliacci
The opera Pagliacci is an excellent opera to see, if you are a beginner to the world of opera. As an opera it is short, has a swiftly moving plot within a plot and a typical operatic death scene.
Pagliacci was written by Italian composer Ruggero Leoncavallo. It is sometimes referred to as the famous Italian opera about clowns.
The opera Pagliacci has several clowns:
- the male clowns Canio, Tonio, Silvio and
- the female clown Nedda.
Click to find out more about the opera Pagliacci
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What is Opera?
What is The Opera?
Opera is one of the most loved and enduring forms of art.
An opera is a dramatic work that combines music, literature, visual art, dance. In today’s opera productions, what the opera audience sees and hears is often enhanced by technology (lights, sound effects, films).
The following 15 characteristics and features expand on the definition of opera and help us understand this art called – opera.
- Music is the main component of an opera
- Drama in an opera comes through the music
- Operas are composed by opera composers
- A composer score is used by the opera’s music conductor
- Opera libretti are the script
- An orchestra provides the instrumental music
- Opera singers sing in an opera
- A choir performs in an opera
- Ballet dancers perform in an opera
- Supernumeraries are often part of an opera performance
- Operas are usually performed in a house of opera
- Opera is a theatrical production
- An opera performance must have an audience
- Surtitles provide a translation of the opera libretto
- An opera conductor is responsible during an opera performance
Continue reading for more details on What is the opera?
Classical Music – Create, Listen, Enjoy
Marianna Humetska, Myron Yusypovych, Lidiya Futorska
To create music with first-rate musicians – creative individuals, is a great joy.
One of the responsibilities of a conductor is to lead the orchestra as it accompanies soloists. Or, so it is perceived in the «job description» of a conductor. Rarely, does it happen, and, rarely, have I had the opportunity to not simply be an accompanist, but to create great music – soloist, orchestra and conductor together, during a performance.
I can remember 2 vivid examples of such creation:
the Violin Concerto №1 by D. Shostakovich with the brilliant, young violinist Lidiya Futorska and the Lviv Philharmonic on March 19, 2006.
the Piano Concert in D Minor by W.A. Mozart with the incredibly fine and refined pianist Marianna Humetska and the Lviv Phiharmonic on February 9, 2007.
In both instances, the focus was not on the many technical details, issues and executions of the music. These were simply obvious.
Elegance, delicacy and intensity were the important categories for our focus. And indeed, in due course, these were critically acclaimed by our audiences. With such musicians, conducting is easy and extremely gratifying. This feeling transmits itself to the orchestra and they, in turn, are inspired to rise to a different level of quality, beginning to sound differently.
The evening of November 20, 2010 was that rare opportunity when I had the joyous opportunity, once again, to create music with these magical ladies. And this time, no less, with both of them at the same time. It was our mutual appreciation of Joseph Haydn that brought us together. We performed the Concerto in F Major for Violin, Harpsichord and String Orchestra with the orchestra «Lviv Virtuosos» at the Lviv Philharmonia.
Performances like these inspire all of us: musicians to create, audiences to listen, everyone to enjoy. You just want to do it again and again trying and recapture that feeling. The question is: when will there be a next time?
Spheres of Harmony – Music and Art
Scenic Design by Yevhen Lysyk
I remember when I first encountered the work of scenic designer Yevhen Lysyk. This was back when I had first started working at the Lviv Opera House.
On a subconscious level, I already knew then that his scenic design masterpieces on canvas were not simply the work of a stage designer engaged in the production of theatrical landscape murals.
His scope went beyond simply applying various artistic forms and mediums. He was constantly attempting to attain an overriding universal grandeur (dignity) by applying a wide scope of ideas and profound content. Equivocally, this master went beyond the confines of scenic design.
In all honesty, this, very often, became a problem for stage directors, production managers, stage performers and even music conductors. To attain the levels demanded by Lysyk, where there was no room for simplistic and common dalliances, was not possible by everyone.
For me, Lysyk's eternal themes and his ability to generalize them, while giving them depth and clarity, are akin to the best of great music. After all, Lysyk himself drew his ideas and inspiration from music. Richard Wagner and Yevhen Lysyk – I see them as kindred spirits.
This brings us to the fact that often the best canvases, as well as the best examples of world music, are spiritually inspired. In essence, they are born from the same seed – the soul, which gives birth and provides inspiration for both sound and colour.
Our Spheres of Harmony unite these so different and yet so similar forms. They have become the impetus for this simultaneous incarnation. I hope that for our audience this will become both an exquisite delight of listening and viewing pleasure. And for artists, my aim is to stimulate more of this great and unifying genre of art.
Continue reading: The World Needs a Museum to House Yevehen Lysyk's Masterpieces
Famous Opera Singers at Open Air Concerts
Famous Opera Singer Maria Stefyuk
It used to be that famous opera singers would never consider singing on an open-air stage. Luciano Pavarotti, Placido Domingo and Jose Carreras (better known as The Three Tenors) changed all that with their open air concert on the eve of the 1990 Soccer (FIFA) World Cup’s first match.
Since that time, many outdoor concerts of opera and classical music have taken place all over the world and audiences have loved them.
In Western Ukraine, classical music open air concerts have been recently revived due to the efforts of Myron Yusypovych.
Click to view a music videoclip of Mariya Stefyuk, a famous opera singer, performing at an open air concert.
Click to find out more about Maria Stefyuk and Goskontsert, the agency that had total and complete control over artists’ lives in the Soviet Union.
Switch on Ukraine for EURO 2012
Myron Yusypovych – EURO 2012
Conductor Myron Yusypovych has been included in the advertising videoclip Switch on Ukraine. The music videoclip will be broadcast on major European TV channels (Euronews, Eurosport, BBC) as part of Ukraine's promotional campaign for EURO-2012. The official presentation of the videoclip took place in Kyiv on November 4, 2010.
The videoclip was created by Ukrainian director Yulian Ulybin and German cameraman Torsten Lippstock. During their stay in Lviv, they filmed footage at the S.Krushelnytska National Opera and Ballet Teatre.
The videoclip is 90 second long. Myron Yusypovych can be see at the 70th second mark.
Conductor Yusypovych Stimulates Alpha Brainwaves with Baroque Music
Baroque Music and Alpha Waves
On Thursday, November 4… you can listen to The Best of the Baroque …
«…each and every one of us needs to stimulate our brains to produce alpha brainwaves (i.e. 8 – 14 hertz, or cycles per second). In this state, our ability to relax, renew and rejuvenate is heightened. Interestingly, one of the best ways to stimulate our brains to produce alpha waves is by listening to Baroque music», explains conductor and music director Myron Yusypovych, who encourages everyone to come out, listen to music and stimulate the production of alpha brainwaves in order to renew and rejuvenate ourselves.
Verdi Overture to Nabucco – Some Thoughts
Verdi Opera Nabucco
The Verdi overture to Nabucco, as well as the opera itself, is perhaps one of the most frequently performed overtures, loved by both by audiences and performers alike.
From among all the Verdi overtures, the one to the opera Nabucco is a convenient and effective part of any opera gala concert.
I, personally, have conducted this music frequently. This is due to my engagement at the Lviv Opera House, which is a repertoire company. Up to now, I have conducted this overture 78 times as part of a full stage-performance of the opera Nabucco. Additionally, there have been many concerts. I have also recorded the Verdi overture to Nabucco at the Philharmonie München with the K&K Philharmoniker in 2004.
Such frequent performances of the same music, carries for the performer a certain risk. It is easy to lose the feeling of freshness. The only way not to fall into the trap of formality, while performing this «simple and pretty» Verdi is to:
*adhere strictly to the composer's requests, as written in the score
*to force onesself and the musicians to honestly and thoroughly examine the well known pages of notes, as if for the first time.
Only then, will this music not become sweetly-trite, but will maintain its clean beauty and Verdi grandeur.
I get extremely annoyed by conductors, who arbitrarily apply retardations in the overture to Nabucco. It doesn't matter whether they do it for lack of taste or with the aim of easing their conductor's job during the performance.
Under their guidance, the Verdi overture to Nabucco becomes a simple composition of sweet Italian melodies compiled by the composer on the eve of the opera's premiere. Indeed, this may be a historical fact. However, this is no reason to approach this music simplistically and to perform it primitively.
Some of the so-called traditions of performance and interpretation widely accepted today are in actuality a departure from what the composer originally envisioned. Playing the notes formally and duly is not performing Verdi's music. Ironically, a return to Verdi's score, in all its initial vision and excellence, is nothing short of innovative.
G. Verdi is a composer who needs to be approached with great precision. And a performer's hundredth «meeting», must be viewed as a first.
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Verdi Overture to La Forza del destino – Some Thoughts
Verdi Operas – Complex or Simple to Conduct?
Lviv Conductor, Myron Yusypovych, Releases a Recording of Classical Overtures
Myron Yusypovych Recognized for His Contribution to the Development of a National Culture
Award of Merit
Myron Yusypovych was recognized with an Award of Merit by the Cabinet of Ministers of Ukraine.
A diploma and commemorative medal were presented by the Ukrainian Minister of Culture and Tourism, Mykhaylo Kulynyak on October 15, 2010. The ceremony took place at the S.Krushelnytska National Theatre of Opera and Ballet in Lviv, Ukraine during celebrations dedicated to the 110th Anniversary of the Opera House.
The Award of Merit was awarded for «high levels of professional skill, many years of dedicated work and significant personal contributions to the development of a national culture».
The Award of Merit is registered under #20839 and signed by the Prime Minister of Ukraine.
Tonio, the Fool – Clown in the Opera Pagliacci
Tonio in the opera Pagliacci
Tonio is one of the clowns in the opera Pagliacci.
- The villagers make fun of him.
- Canio, his boss, slaps him.
- Nedda, the boss’s wife, ignores him.
Frustrated, Tonio is set on revenge.
Click to view an opera video clip of Nedda and Tonio arguing.
Click to read opera conductor Myron Yusypovych’s thoughts on the character of Tonio from the opera Pagliacci.
Continue reading: Nedda in Pagliacci Must Look the Part
Verdi Overture to La Forza del destino – Some Thoughts
Verdi Overtures Conducted by Myron Yusypovych
Verdi overtures, or more precisely – Sinfonia, belong to that category of music which is well known to a wide audience. In particular, this is true of the Verdi overture to La Forza del destino. Recently, through the advertising efforts of the beer company “Stella Artois”, this overture’s famous motif has even become a popular hit.
A music critic, writing about my performance at the Konzerthaus, Berlin, called this lovely overture by G. Verdi “a must have”, meaning that a “Verdi Gala” or an “Opera Gala” almost inevitably includes this Verdi opera overture.
All in all, it would seem difficult to amaze and astound an audience with a performance of this popular Verdi music. So, it was all the more pleasant to read in the press that this “must have” was performed by a “true Verdi specialist, who avoids all routines and simplifications” (Mannheimer Morgen).
Obviously, this is extremely pleasant. Even more pleasant is the feeling of appreciation expressed through the audience’s enthusiastic response.
And still, I have often wondered – what is it that distinguishes the successful performance of Verdi music from a routine one?
It turns out, the answer is quite simple. Verdi melodies are beautiful. But Verdi’s true genius lies in his knowledge of musical dramatics (dramma per musica). It is only when this is actually recreated that this composer becomes not just pleasant, sentimental, trite and sweet, but grand, monumental and… pristine.
It may appear strange, but often orchestras, or more precisely conductors, (and not just those working in some outlying cultural regions of the world but even those considered “great conductors”) are unable to attain this. In this particular case, the G. Verdi overture can become a medley of sweet melodies, effectively complemented by the dutiful ff (very loudly) and pp (very softly) and… completely arbitrary tempi. This arbitrariness kills Verdi the musical dramatist. For it is precisely here, that Verdi attains highest merit and attraction.
Recently, I set myself the somewhat benign task of listening to some 10 or so performances of the Verdi overture to La Forza del destino and the Verdi overture to Nabucco posted on YouTube. Someone said that YouTube is nothing but a garage can. There is some truth to this. But, garbage is an irrevocable part of our lives and some garbage, as we can see, might even be valuable.
Among the ones I chose were the “greats”: the Metropolitan Opera, the Mariinsky Theatre, the Staatsoper Wien, as well as lesser known performers.
The result? In only 3 instances did the conductors (and orchestras) recreate the tempi, that G. Verdi indicates in his score. As a result, only in these 3 performances was the true Verdi evident. Not a sweet and simplistically showy Verdi, but monumental, passionate and true.
Bravo Mitropoulos, Toscanini and Mutti! In these performances, these gentlemen showed respect for the true Verdi and not self adulation at the cost of Verdi.
In all the other instances, including incidentally the Met and Mariinsky performances, the self serving slowdowns, irrationally glittering quickened episodes, after which the final “piu mosso” in the overture to La Forza del destino is not even performed, are one big lie wrapped, albeit, in enticing and bright packaging. It is no longer relevant whether the conductor has a baton in his hands or a toothpick in his two fingers. What are they thinking? That this “humdrum Verdi” deserve no better?
But what is pleasant is that even on YouTube, if we read the comments, some people are able to distinguish the good and the ugly. Bravo!
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Lviv Conductor, Myron Yusypovych, Releases a Recording of Classical Overtures
Verdi Operas – Complex or Simple to Conduct?
The World Needs a Museum to House Yevhen Lysyk's Masterpieces
Lysyk Scenography Museum Needed
A round table discussion, «Yevhen Lysyk: A Contemporary Review of the Artist's Legacy», took place on September 21 to mark the occasion of, what would have been, the Maestro's 80th birthday.
… the famous opera and symphony conductor, Myron Yusypovych, took part in the discussion – «… the name and legacy of Yevhen Lysyk is part of Lviv's heritage. It is unique. He laid the foundation for an atypical form of drama, where visual drama and musical drama synergize. Subconsciously, he discovered a new form of theatre – the visual in sound or sound visualization. Indeed, this can be a separate genre: combining music, lights and imagery … I would like to suggest that we take several concrete steps toward creating such a vision and sound theatre, a theatre dedicated to the legacy of Yevhen Lysyk…» said Myron Yusypovych, adding that the General Director of the Lviv Opera has already planned to commemorate the 80th anniversary of Yevhen Lysyk with a concert combining music performed by the orchestra and the Maestro's scenography.
Another realistic was proposed by the well known Lviv art researcher, Nataliya Kosmolinska, who suggested that a DVD with production designs by Lysyk and recordings of orchestral music under the direction of Myron Yusypovych be released…
Definition of Opera
Opera Definition
Since an academic definition of “opera” can be found in any encyclopedia or dictionary, I would like to comment not on the formal characteristics of this genre or its historical development, but on what can be labeled as the “opera phenomenon”. By this, I mean the unique emotional state experienced by audiences of this genre, which has allowed opera to remain in the forefront of human culture for more than four centuries.
In the Holy Scriptures is is said that: “in the beginning was the Word”. And so it is with opera, where it is “the word”, which carries the meaningful information, develops the story line and creates the necessary dramatic intrigue. But, opera audiences, participating in an opera experience, want, nay, need to engage with more that just “the word”.
“The word” in opera can describe the situation and provoke certain emotional states in the listener. But, “the word” by itself is incapable of elevating the audience to a level of emotional euphoria. It is only when “the rational words” are supported by the full spectre of sounds that the listener is transposed into a completely different state of emotional heights than that, which can be provided by “the word” alone. And, it is this that the audience subconsciously awaits and yearns for in an opera.
Music ensure that the emotions evoked by words can be developed, deepened and, what is most important for humans, given the opportunity to be sustained in this state, over a certain period of time.
“Rational words” lay the foundation for the melodies, harmonies, vocal and instrumental colours, rhythm, tempi, that develop and guide us, the listener to the highest of expressions and emotional states. For the most part, the audience participates in what is going on, on stage not through “the word”, which is sung on stage, but through the emotions evoked by the music. In themselves, the words become secondary.
In classical opera, a full aria may sound from 3 to 6 minutes. And yet, this same aria might consist of one or two sentences, which allows for only the core ideas of content to be transmitted. All else that is born via this content is portrayed and expressly developed through the music leading to what is most important and worthy – the emotional state.
For example, in G. Rossini’s The Barber of Seville, Rosina’s aria “Una voce poco fa” has few words. But, the joy, delight and happy anticipation of a girl in love are clearly communicated through the bright coloratura passages. And they are performed using just a few select words.
In opera “the rational word” is the seed planted to introduce the emotional state. The development of this emotional state, the pleasure of remaining in this state and the ability to relish this process of ever escalating musical drama is this phenomenon of opera that is particularly enticing and unique.
But, and this is indeed a big “but”, there is one very important nuance. For the opera phenomenon to occur, it is imperative that brilliant, or at least highly professional performances of opera be staged. Otherwise, opera becomes something that is difficult to understand and frequently, just plain ugly. In a poor production, the “opera phenomenon”, which is the quintessence of the genre, just won’t happen.
Two extremes reign in this genre: brilliance and misery. A third, middle ground just doesn’t exist.
Continue reading: What is The Opera?
6 Reasons to Attend Open Air Music Concerts
Open Air Concerts in Lviv, Ukraine
Why attend an open air music concert that features classical and opera music?
Click here for six good reasons to be a part of summer outdoor music concerts.
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National Lviv Opera Soloists Perform in Concert
Lviv Opera Soloists in Lancut
The last major event of this year’s Lancut City Days (June 11 – 13) was an open air concert by the soloists and orchestra of the Solomiya Krushelnytska National Opera and Ballet Theatre from Lviv in the program „Charming Operettas“ under the musical direction of Myron Yusypovych ( Meron Jusypowicz )…
An interesting and unexpected moment in the program was, when one of the tenors invited the audience to join him in singing the song „O mój rozmarynie“…
This charming and magical concert was a large scale event and the biggest attraction during Lancut City Days. By drawing a huge crowd, the concert reaffirmed how much we crave this kind of art and the significance of such events for the development of a sense of cultural community while developing artistic and cultural tastes.
All that remains, is to recommend that such events take place more often and that great artists be hosted in Lancut.
Anna Błachowicz-Wolny, Korespondent 24
Interesting facts: „O mój rozmarynie“ (also known as „Rozmaryn“) is a popular Polish song from the World War I period.
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Joseph Haydn Symphony №96 in Olsztyn, Poland
Myron Jusypowicz Performs Opera and Classical Music in Poland
Getting Rid of System Corruption – One Small Step at a Time
Song Heart
In Ukraine, we live in a society of economic difficulties, political crises, persistent redistributions of power among governing elites and the day-to-day difficulties that these entail.
Nonetheless, this past weekend, I was in the company of a small group of people, who continue to actively persue what, for them, is a sacred and strategically priceless mission – the care, development and education of our children. They do this actively, while rejecting long-winded directives, reports and speeches filled with pathos and empty promises. I wish to express my enthusiasm for these people, a great thank-you to them and my deepest regards.
As head of the Judging Committee of a Children's Singing Competition «Song Heart 2010» , I reaffirmed for myself, once again, how many truly talented children we have and how they challenge us – adults and our ability to possess common decency.
Why do I focus on «common decency» in adults?
First, a small digression. Obviously, for me as a professional, it would probably be quite appropriate and easy to just say a few words about the children's beautiful voices, their artistic stage flair, the quality or lack of sound tracks, the live accompaniment, the organizational aspects of the competition.
But, because I am commenting on a children's competition, I feel a need to consider, what to me is a more vital aspect. Undoubtedly, I am influenced by my recent experiences in another more prestigious, international adult opera competition that took place in Lviv. As a result, I am drawn to draw parallels between the concept of «competition» as a whole and the moral and ethical atmosphere in a country or state.
So, what is a competition – any competition?
I remember someone once saying, that it is the luck of the draw – you win some, you lose some. I reject such a view since it, right from the start, presupposes dishonesty and justifies an individual, who is involved in the process for the sole purpose of clandestine, personal gain.
Unfortunately, unfair competition, to a greater or lesser degree, is evident all around the world. And yet, in democratic countries, where rules and laws are meant to protect human dignity, blatant abuses are less frequent. In a society, where corruption has become a way of life, it may be difficult, even a waste of time, to expect competition results, that will honestly reflect the real level of quality.
In a corrupt society, the local contest to choose a regional «Miss Something», or an international competition of opera singers, or an audition to fill a job vacancy – become competitions of protectionism, connections and bank accounts. If you don't bribe, don't use your connections, don't ignore the screaming voice of your conscience – you are left with nothing. The result – a slow rotting of the spirit and massive despair.
Someone buys a «Miss» title for a million, someone else, for several thousand. For a buck, someone gets a reference from the local authorities, someone else, from the doctor's office. Why? Perhaps, because everyone in this sick society appears to have something to gain. It's only a matter of degree.
For, it is neither outdated factories and mines, nor the impact of political infighting, nor an outside enemy's hand threatening us that is keeping us in the mire. Our biggest problem, at all levels of society, is the tragic poisoning of our hearts.
For someone on the outside looking in, it may seem strange and incomprehensible, that everyone in this society sees, understands, discusses and complains about this depravity, but lacks the will to get rid of it. Unfortunately, such are the realities of our country today. People in Ukraine have lost all faith and hope that a different way of life is even possible.
To regain our well-being, we must begin to build on a healthier foundation. Starting with a nationally recognized artist, who heads an international opera competition, to the professor, who is a member of the entrance committee at a musical academy, all the way to the local clerk, who provides community services – all must begin to cleanse this poison. The higher the rank – the greater the duty and responsibility.
For many, our internal belief in the greater good is the first place, where we rebuild our faith. And for some of us, the Church provides the needed spiritual support in this complicated process.
I return to the competition this past weekend, which was initiated by the Ukrainian Catholic Church. Put simply, it was a beacon of hope.
«Johnny» sang in his clear silvertoned voice and we heard it for what it truly was, ignoring the fact that he came to the competition using public transport and not being chauffeured in a fancy car. There's no doubt that he and others like him will experience unfair play many times. But, nevertheless, this day he believed that things are possible. He felt strong and, hopefully, will have the will to work and fight. For, he achieved, based on true merits.
Those of us, who have been given the power or opportunity to influence events must finally learn, that there are few joys greater than not giving in to promises of gain, burdens of friendship, illusions of grandeur and doing what we inherently know is right. And, when we follow our inner voices and do good, we experience feelings of empowerment.
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Tenors, Basses and Young Opera Singers at Singing Competitions
It’s Not Just Love…
Not Just Love Poems
The newly released CD is the result of the creative collaboration between Myron Yusypovych and K&K Philharmoniker, an orchestra created in 2002 by the Austrian company DaCapo Musikmarketing. (Mr. Yusypovych worked with them until 2007.) The orchestra members were chosen by audition from among the best musicians in Ukraine. For many years, four audio disks recorded by this orchestra have been selling in Germany, Austria, Switzerland. Up to now, no one had the rights to release the disks in Ukraine. Myron Yusypovych and his wife Oksana, obtained these rights…
As to his desire, in addition to wielding the conductor's baton, to put pen to paper, Mr. Yusypovych said: There were two things that have stimulated me to write poetry – my youngest daughter's drawings and music.
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Opera Conductor Releases His Second Anthology of Poems
Opera Conductor Releases His Second Anthology of Poems
Conductor Releases Anthology of Poems
Yesterday evening, there was a double presentation of an opera CD and anthology of poems by Myron Yusypovych at the Lviv “Dzyga” Art and Cultural Center in Lviv. Yurij Kucheryavyj moderated the evening…
The music conductor feels that for an artist (and a composer in particular) the impetus for creating any work of intrinsic artistic value is pathos. “They all agonized – Tchaikovsky, Schubert, Chopin, Glinka, Wagner – each in his own way, due to something deeply personal. As a result, we have enlightened music, a catharsis of love. For my poetry, music is a strong stimulus”, admitted Myron Yusypovych, whose new anthology of poems includes poetic intermezzo based on operatic themes he has conducted.
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A Symphony of Poetry by Myron Yusypovych
Lviv Conductor, Myron Yusypovych, Releases a Recoding of Classical Overtures
Recording of Classical Overtures
The new recording produced personally by the conductor Myron Yusypovych includes classical music by Richard Wagner, Giuseppe Verdi, Giacomo Puccini, Georges Bizet, Ruggero Leoncavallo, Pyotr Tchaikovsky, Mikhail Glinka, Julij Mejtus and Mykola Lysenko. Ivan Ohar did the remastering …
For the most part, Myron Yusypovych is a prominent celebrity in Lviv artistic circles. He sells out his concerts, leads an active creative life and responds to various cultural events – from museum expositions to new theatre productions. In every new event, he absolutely rejects all evidence of bad taste, unprofessional outcomes, lack of consistency and polish. In short, every time he expresses his amazement of how, in our reality, there can coexist complete apathy, junk, low quality and real creative inspiration and original creations of others, evaluates them not according to narrow-minded attributes, but accountable standards of excellence.
Famous Male Opera Singers – Modest Menzinsky
Famous Tenor Modest Menzinsky
Modest Menzinsky (1875 – 1935) was a famous male opera singer, who performed all over Europe. His tenor voice was ideally suited for the full range of operas by Wagner and Menzinsky sang all of them. During his time on stage as a singer, Modest Menzinsky performed every major male opera role in the great opera theatres across Europe. Press critics and the public of the 1920s and 1930s considered Modest Menzinsky to be a great opera singer.
Click to continue reading about Modest Menzinsky, a famous male opera singer
Verdi Operas – Complex or Simple to Conduct?
Operas Verdi Gala
The recent, unexpected problems at the Metropolitan Opera in New York and the opera La traviata by G.Verdi are not, to my mind, that unusual. Perhaps, it is a good idea to examine this situation keeping in mind the so called “phenomenon of simplicity” of Giuseppe Verdi’s opera music. On the other hand, this relates not just to Verdi and his operas, but also, to the music of other brilliant composers.
In terms of the actual arm gestures, neither La traviata, nor any other opera by G. Verdi, including Aida, Otello or Falstaff, compare with the demands of Histoire du soldat (The Soldier’s Tale) or The Rite of Spring by Igor Stravinsky. So, what, then, is the problem?
I have had the experience of conducting music, where the composer has felt a need to employ (probably because he felt he couldn't do otherwise) every type of beat possible: from 1/8 to 12/8. Additionally, these would change every few bars and in quick succession. I am not a proponent of someone’s expression, that sometimes, after leafing through a music score “you just want to get up and wash your hands of it”. I feel that, if the score has 2 timpani, 1 set of cymbals, a large drum and another 20 or so percussion instruments, then there must be someone, who wanted to say something with this.
I admit, as a young 20 – 30 year old conductor, this was interesting and actually more exciting than conducting operas of Verdi. At the time, for me there was no need to search for any other form of extreme activity to raise my levels of adrenaline. Truthfully, however, the orchestra members didn't always share my enthusiasm.
Nevertheless, the quantity of energy expended by the conductor and musicians in order to perform an overly saturated and complex musical score is not the issue. The important issue is the artistic outcome and the effect it has on the audience. It is the audience that has to become convinced. The audience is neither interested in the number of rehearsals, nor the number of instruments in the orchestra, nor the rhythmic and intonational complexity of the pieces, nor how much the conductor perspires. They don't need an explanation of the technical means. What they need and want is the aesthetic result – the feeling. People come to a concert hall or opera theatre searching for this artistic feeling. And, they do this not only with operas by Verdi.
The irony is, that it is precisely these «means», that sometimes become convenient alibis for conductors and musicians. When a performer doesn't comprehend subtlety and simplicity for its genius, then he is incapable of expressing its artistic form. It is possible to hide behind the many technical difficulties, with which «complex» non-verdi musical scores are stuffed, much like an over-run forest. The process of overcoming these difficulties by the conductor borders on the heroic. In actuality, it becomes a substitute for a higher and worthier artistic process. And, then we are dealing with a dry and empty craft. It might be of high quality but, audiences don't come to hear good craftsmanship.
I prefer to walk in a clean, well-kept sunny forest. It is true, that it is much more difficult to hide there. And so it is with Verdi's simple «um-pah-pah», which accompanies «Addio, del passato bei sogni ridenti» by the dying Violetta, in Act III of G. Verdi's opera La traviata.
If the conductor's podium is held by an artist, the result is moving, sensitive and subtle. But, if there is a craftsman, then we experience something simplistic, empty and boring. It is impossible to hide behind the «um-pah-pah» of G. Verdi operas.
And this, to my mind, is the essence of the problem.
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Gala Concert in Memory of Famous Mezzo Soprano Ira Malaniuk
Ira Malaniuk Gala Concert 2010
A Gala-Concert is planned to commemorate the memory of the world famous opera singer, Ira Malaniuk, who was born in our city….
Conductor for the event is Myron Yusypovych.
Ira Malaniuk was born in Stanislaviv (now called Ivano-Frankivsk) on January 29, 1919 and passed away in Zirl, Austria on February 25, 2009… As a singer, she had an exceptional artistic gift – a voice of wide range, unusual timbre, strength and flexibility, which she handled using the highest techniques of performance. She completed her opera career at the age of 50. During her lifetime, she was recognized as a brilliant Wagnerian. Additionally, she achieved unprecedented popularity as a chamber singer. Malaniuk performed in concerts in many cities of Western Europe and on the North American continent (USA, Canada). In 1965, the Austrian government awarded her the Austrian Cross of Honour for Science and Art, First Class („Österreichischer Ehrenkreuz für Wissenschaft und Kunst Ersten Klasse“).
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Female Opera Singer, Ira Malaniuk, Honoured with a Gala Concert
Nedda in Pagliacci Must Look the Part
Nedda in Pagliacci
The opera Pagliacci by Ruggero Leoncavallo belongs to those operas, where the age of the soloists performing the main character roles is extremely important.
If we don't have a real soprano to sing the role of Aida, we can't stage Aida by G. Verdi. The soprano, who sings Aida must have mastered the appropriate voice capabilities and be fully competent. Thus, it is not that important if the Ethiopian princess is not quite young and doesn't stand to compete with the young girls on Fashion TV. Aida and her delicately erotic triplets during her night scene with Radames, on the banks of the Nile, in Act III of the opera, will outshine any absence of long legs or other physical attributes.
However, it is a completely different situation with Nedda, the operatic heroine in R. Leoncavallo's Pagliacci. In this case, it is imperative that there be a young «wench» on stage. An audience will not be satisfied with just a beautiful voice and clear singing. Nedda in R. Leoncavallo's Pagliacci must be nimble, slender and young. We can, if necessary, compromise on this account with the other characters in Pagliacci - Canio, Tonio, Beppe. And yet, if Nedda, the enamoured damsel and Silvio, her lover, don't look the parts, no one will really believe the torment and agony of the dramatic tenor – Canio. In this case, the «vero» must be available both for the audience's ears and for the eyes.
It was a pleasure to work with such a Nedda, Veronika Kolomishcheva, at the April 17, 2010 performance of Ruggero Leoncavallo's Pagliacci at the Lviv Opera Theatre.
Joseph Haydn Symphony № 96 in Olsztyn, Poland
Symphony Music Concert in Olsztyn, Poland
It was an immense pleasure to perform the Joseph Haydn Symphony № 96 with the Warminsko-Mazurska Philharmonic Orchestra in Olsztyn, Poland on March 19, 2010. I enjoyed working with the orchestra and I was delighted by the reaction of the evening's audience.
Following the performance, my thoughts once again turned to the idea, how inherently natural and, perhaps, even essential it is for human beings to sense from time to time harmony in form and sound that is clear, logical and predictable on the subconscious level. Humans strive to attain this balance within the soul. When, the listener doesn't have to «labour», because this consonance is organized into harmonically polished forms, one's soul and mind naturally flow as one.
It is an immense joy, to leaf through the score of this great «gourmet» and enjoy his creativity, humour and ability to gauge abundance and graceful taste. This is Joseph Haydn music and all of it, without a single «fff» or «ffffff» and with a brilliantly «simple» orchestra.
I suspect that, the desire to constantly increase the acute dose of brute emotional force is just part of our human nature. As a result, we have arrived at humungous decibel levels, as well as, gigantic and not always harmonic forms. We have travelled from slow moving carriages to superfast aerobuses. And, somewhat on a less positive note, we have evolved from the cannonball to the hydrogen bomb… And still, something is missing.
And, then quite suddenly, because of a happy coincidence (after all, the score for Haydn's Symphony №96 came into my hands quite unexpectedly) one comes to the conclusion that this is what we really need – a mere 23 minutes of symphonic music by the timeless Joseph Haydn.
How I want to share this incredible discovery with someone!
Continue reading: Myron Jusypowicz Performs Opera and Classical Music in Poland
Conductor From Ukraine Will Lead Olsztyn Musicians
Concert in Olsztyn, Poland
You are invited to the Olsztyn Philharmonia to attend a concert celebrating Artur Milian’s 35 years of artistic endeavors. Myron Jusypowicz from Lviv conducts.
Greatest Love Songs in Concert on St. Valentine's Day
Greatest Opera Love Songs in Concert
Opera love arias, opera love duets, Neapolitan songs and Ukrainian love songs – all of this served to entice the people of Lviv to the Lviv State Philharmonic, on February 14, 2010.
I've dreamed of organizing a special Gala Concert on St.Valentine's Day for a long time. There are many reasons why I've wanted to do this. Incidentally, the fact that the sacred relics of the great martyr are kept in the Catholic Church in Sambir, Ukraine (built in 1502) – the city of my childhood and a good part of my youth, had something to do with it
Anyone who enjoys opera or ballet is aware that «The Sounds of Love» transcend all examples of this genre. So, it would have been easy to simply choose from a list of the top opera love arias and love duets, Neapolitan songs and popular Ukrainian songs about love, which are always in demand by an audience. But, in all honesty, I didn't want to take this easier and somewhat humdrum route.
I decided to take a risk and offer such relatively unknown pieces as the instrumental piece «Death of Isolde» by Richard Wagner, Valse Fantasie ( Waltz Fantasy ) by Mikhail Glinka, an instrumental fragment from Act 3 of G. Puccini's Madama Butterfly and the passionate Adagio from the ballet Spartacus (Spartak) by A. Khachaturian. All of this was «spiced up» with readings of poetic texts from my personal anthology of poems (see October 9, 2009).
And there you have it! The results surpassed my expectations. To my great satisfaction, the dying Isolda got the same turbulent applause, as the well known aria by Calaf, with its brilliant «Vincero!», from Turandot by G. Puccini. An even greater surprise was the fact that the hall was filled to capacity. That evening there was even a record box-office intake! It exceeded seven fold the amount of tickets usually sold at the Lviv Philharmonic.
Lviv has an audience! And what is most important, is that this audience is not made up of just older people, but includes many young people. That evening, these18 to 35 year olds made up 75% of the audience! What is the secret of such success? I would suggest that this highly astute audience, not contaminated yet by snobism and falseness, requires what I would call a «real» performance. My experience has shown that they instinctively reject a mediocre product, that is masked under the guise of elite art, false regalia and empty snobbism. These young people need an authentic and quality product.
The Role of Aida in Giuseppe Verdi’s Opera
G.Verdi’s Aida at the Lviv Opera
Everytime, I conduct G. Verdi’s Aida, just before the beginning of Act III I become extremely apprehensive. It is in this part that Aida sings her incredible aria (“Qui Radames verra!...”).
In Act I and Act II of the opera Aida we can engage the audience with a brilliant orchestra, grandiose choral scenes, splendid dances and lush decorations. If finanical and stage resources permit, it is even possible to bring out the horses, camels and elephants.
And then – Act III.
The stage is in semi-darkness. Somewhere, off stage, in the distance, on the other side of the River Nile, the choir sings. On stage, we have 1 or 2, at most 3 soloists, who must keep and even increase the momentum attained in the first 2 Acts of the opera. Not a simple assignment!
And, this is particularly true of the soprano. Aida’s aria (Romanza – Aida) at the beginning of Act III is probably the most difficult and yet, at the same time, perhaps the most beautiful of all Verdi opera arias for soprano. Most of it is performed quietly (p) or very quietly (pp), and yet this aria has an especially colourful orchestral part and is highly dramatic.
Overall, the music is fine and sensual, while the vocal part demands a great mastery of voice, refined taste and immense dramatic talent.
The music is incredibly harmonic and accompanies a highly expressive and poetic text (“O cieli azzurri, o dolci aure native…” - . “O blue skies, o tender native breezes…”). This is also true further on in the duet between Aida and Radames (“In estasi beate…” – “Blessed in ecstasy...”). The delicate aroma of this scene effectively contrasts with the brilliance and pomp of the finale in Act II.
It is cruelly ironic, that the brilliance and great triumph “achieved” in Act I and Act II can be smashed, destroyed and devalued in Act III, if there isn’t a genuine soprano to sing the role of Aida.
This is the unmerciful reality of this brilliant opera. For an engaged audience, however, this is the spice that adds interest and excitement to this Verdi opera.
We can perform Aida without horses and elephants – but, never without a first-rate soprano!
Continue reading:
Two Young Male Opera Singers Debut in the Verdi Opera Aida
What Attracts a Western Audience to a Russian Opera?
A Russian Opera Scene
Very few Russian operas are performed on a semi regular basis in Western opera halls and theatres.
Why is it that even though there are about 100 Russian operas, only a few of them have gained popularity in the West?
I know the Russian opera repertoire well. As a result, I would claim that the reason has nothing to do with the quality of these operas. On the contrary, several of these operas are genuine masterpieces and according to some parameters, supercede the quality of that which is more popular. So, it is truly unfortunate that the world doesn’t know and doesn’t listen to Russian opera more.
To my mind, the real reason why Western audiences don’t get to see and hear more Russian operas is because of a particular phenomenon, which can only be labelled as “Russianism”. These operas ae filled with this unique approach to emotions and a particular way of thinking, which is not that well understood in the West.
It may appear that Western Europeans are not interested in such names as Snegurochka (The Snow Maiden) or The Tsar’s Bride by N. Rimsky-Korsakov. They also tend to be blasé when it comes to Iolanta, The Enchantress (sometimes translated as The Sorceress, original transliteration Charodejka) or even Mazepa by P.I. Tchaikovsky. Kniaz Igor ( Prince Igor ) by A.P. Borodin is also unpopular.
Although these Russian operas tend to be suppressed in the West, they have just as many expressive solo melodies, lush choral episodes, sharp drama and exquisite orchestral scores as any other operas that have gained wide popularity.
Greater attention tends to be given to a select few, from the Russian opera repertoire, for example:
- Eugene Onegin or The Queen of Spades by P.I. Tchaikovsky;
- Boris Godunov and Khovanshchina by Modest Mussorgsky.
I ask myself – why?
For some reason audiences appear to be less interested in the polished melodic arias from Ivan Susanin (also known as A Life for the Tsar) by Mihail Glinka. Nikolai Rimsky-Kosakov was one of the top composers for the orchestra and is well known for his extremely rich and colourful orchestra scores. And yet, his Snegurochka and The Tsar’s Bride don’t seem to appeal.
Maybe, the Western listener wants, nay needs, to find in a Russian opera, as in Russian music in general, something uniquely Russian, something, which is unavailable in the comfortable and aesthetic judiciousness.
If, we want to taste delicious and pleasant melodies, then we can experience harmony while attending performances of Verdi, Donizetti or Bellini. A Rossini performance will ensure a good mood and coloratura brilliance. The genius of Mozart promises an all encompasing experience. A Wagner opera will provide the impact of unearthly grandeur and the clear silver of the high violins.
What then can the European seek here, in the few Russian operas that are made available?
Russian opera is unified by a particular emotional and psychological tone and. It is a heavy temperament that is depressing, but strangely, enticing.
It is this, which is typically Russian. It is inherent in the people from that part of the world. Interestingly, it is this which even Russians themselves are unable ultimately to explain: “You have to feel it.” (Eto nado pochustvovat) is the popular explanation.
At one time, I lived in Leningrad (currently St. Petersburg), where I conducted in the Kirov Theater as it was called then (now the Mariinsky Theatre). For ever after, I will remember the heavy, “leaden”, cold sky and morose faces. Even then, somehow on a subconscious level, I understood my local acquaintance and friend, who from time to time, would call me and suggest that we meet, take a bottle of vodka, drink it (almost without anything to eat), listen toTchaikovsky’s Symphony № 6 and “cry”. I didn't understand the need to cry? The explanation given was «because of longing».
This feeling of longing is what ultimately is incomprehensible. For, it is not necessarily tied to the life’s circumstances or specific problems of everyday life.
This longing becomes a need. As a need, it influences emotions and attitudes that are portrayed in the music of the genius composers: Tchaikovsky and Mussorgsky. Ironically, this is what both drives away and scares away a Western audience, at the same time as it entices it, much as the boa constrictor entices the rabbit.
It may even be that sometimes, in small portions and doses, this becomes a need in even the balanced and respectable Europeans. Perhaps not on a regular basis, but sometimes…
Continue reading:
Atheist Elements Removed from Tchaikovsky’s Iolanta
Iolanta – P. Tchaikovsky’s Final Opera
The Tsar’s Bride is an Anti-Totalitarian, Not an Anti-Russian Production
Abigaille in G. Verdi's Opera Nabucco
Abigaille in G. Verdi's Opera Nabucco
It is no easy task to achieve something close to perfection in all the components of an opera performance. In most cases, it is practically impossible, if the peformance is taking place in a theatre with limited resources, unable to engage top, world-class soloists for the main roles.
Admittedly, there are “cloudy” moments on even the three or four “great” opera stages. After all, the voice is a fine and temperamental instrument. But then, therein, lies the specific charm of this bright and living genre, that we call Opera. Somehow, with appropriate attempts and some lucky breaks, the “moment of truth” can happen on even one of the “lesser” opera stages of the world.
Something like this occurred at the Nabucco performance on December 20, 2009 on the stage of the Lviv Opera House. The role of Abigaille was sung by Lyudmylla Savchuk.
For a conductor, orchestra, partners on stage and, ultimately, the audience, it is particularly uplifiting and exciting, to hear a fine tuned Abigaille strutting the bright, flexible passages and jumping across the double octaves (oh! This Strepponi…), while acting and looking like a 30-35 year old – fierce and full of self-confidence – a feline “playing” with the mouse, in her final scene in Act 1 of G. Verdi’s Nabucco.
And then in her aria in Act 2, easily reaching the high C, as she ironically “dreams” in precise mezzovoce convincing all, that the performance is not simply a vocal exercise. The notes realistically convey her aggression and belligerence. She is well pleased with herself.
In a performance, there is more, so much more, than just the voice and the written notes. In the past, I have been witness to numerous Aidas and Radameses sending a prayer to the Almighty, just before going out, onto the stage in a number of different opera theatres.
It is true that the singer’s voice must fit the role. But, it doesn’t end there. The personality, psychological makeup and ultimately the intellect of the singer are also crucial. Either the singer will simply perform the notes while keeping to the traditions and standard cliches, or without airs and falseness really “hit it right on” and become the character personality and voice combined, convincing all, particularly the audience. This is true success.
“Concrete” fermatas and effective coloratures make Opera what we want Opera to be. But, we need so much more! It is this “more” that the audience searches for. And, it is this need that is so often lacking in our genre. By the way, with Puccini, it is somewhat easier. But with Verdi, this lack becomes particularly acute.
Bach Sacred Cantata Performed by Soprano Natalya Dytiuk
Bach Cantata №84 Performed by Soprano Natalya Dytiuk
The idea of performing J.S. Bach's Coffee Cantata (see November 27, 2009) became the impetus to perform a different Bach Cantata, namely Cantata №84. I did this on the Lviv State Philharmonic stage with the Lviv Chamber Orchestra «Lviv Virtuosos» and soprano Natalya Dytiuk.
Substituting the theatrical and secular coffee piece for the sacred №84 was somewhat risky, particularly, in light of the fact, that there is no tradition in this part of the world of listening to Bach's Cantatas. Not so long ago, during Soviet times, performing and listening to the music of Bach put to the words of the Holy Scriptures was absolutely unthinkable!
For this performance, the audience did not sit in a place of worship, with its venerable atmosphere, but in the hall of the Philharmonic. Nevertheless, the listeners were treated to interesting and pertinent information about the great Bach, a poetic translation of the Canata text and finally a very passionate, animated and exclusive performance.
I suspect that there were a number of listeners in the audience that evening, who discovered that J.S. Bach is not a brilliant but boring idol. Instead, they heard a living and spiritual genius, who offers us access to the harmony and depth of the spiritual realm through words and music.
So, the premiere was a success. Natalya Dytiuk performed the recitatives and arias venerably. Taras Nester (oboe) and the «Lviv Virtuosos» had a clear musical tone. Inna Pavliuk presented interesting commentary. My efforts in these regards bore fruit and I am well pleased.
Finally, one more comment.
It is difficult for us to imagine how extremely prolific and efficient the composer had to be. For according to Bach's contract, he was obliged to compose, rehearse and perform a new Cantata every Sunday and additional ones for key Church holy days. This meant, 59 compulsory Cantatas in one calendar year! Additionally, he was expected to compose secular music, for which he received regular orders from his demanding employer.
Absolutely incredible! But then, that's J.S. Bach.
Young Opera Singers Perform in P. Tchaikovsky's Opera Iolanta
Young Opera Singers in Iolanta
An important step in the career of a young singer, an opera bass, is the first time he performs the role of King Rene in P. Tchaikovsky's Iolanta.
Iolanta is a one act opera, which takes about 1 hour and 20 minutes to perform. The role of King Rene in this opera is not as lengthy as other «classical» main opera roles for basses, such as Boris is Boris Godunov, or Dosifey in Khovanshchyna by Modest Mussorgsky; King Philip II in Don Carlos or Zaccaria in Nabucco by Giuseppe Verdi. Nevertheless, in the opera vocal hierachy, King Rene is near the very top.
To perform the role of King Rene, a singer must use the full range of the bass voice – from a low F to a high F. Additionally, he must infuse this pivotal role in the plot of the opera Iolanta with a great deal of emotional and acting finesse. As such, the role of King Rene can be undertaken only by a geniune operatic bass.
The young singer Ihor Nazarov, a soloist with the Lviv Opera House, successfully sang the role of King Rene for the first time in the opera Iolanta on December 6, 2009.
There was also another first that evening. The role of Iolanta was convincingly portrayed by the young soprano, Veronika Kolomishcheva.
A Synopsis of Pietro Mascagni’s Cavalleria Rusticana
Final Scene in Cavalleria Rusticana
For many opera buffs, Pietro Mascagni is not as well known as the titans of opera, such as, Wagner, Verdi, Puccini or the genius Mozart, Rossini…
And yet, the world opera treasury is richer for the presence of this exquisite pearl called Cavalleria Rusticana.
Did you know that Opera Houses around the world often add and delete creating their own unique versions of operas?
By clicking on the link below, you can read a synopsis of Cavalleria Rusticana, view the images and watch a video of the musical interlude “Intermezzo” as performed in repertoire at the Lviv Opera House in Lviv, Ukraine.
The storyline keeps everything very operatic (in the best meaning of the word): love, sincerity, grief, jealousy, deceit, volatility, stubbornness and vulgarity …
J.S. Bach's Coffee Cantata – Maybe Next Year!
Bach’s Coffee Cantata?
What kind of music should be heard at the Bryndza Festival (Feta Cheese Festival) in Rakhiv, Ukraine? Logically, the Trojista Muzyka (Folk Trio Music) with its bright and intense sounds so well loved by the Hutsuls, should be mandatory. Although, obviously, there is a place for other types of music as well.
At Oktoberfest in Bavaria, the colourful folk bands and brass orchestras, with their marches and polkas, go well with a good beer.
But, what about the Coffee Festival in the coffee capital of Ukraine? What performers should perform in Lviv and what music should they play? The obvious answer should be The Coffee Canata by J.S. Bach.
Unfortunately, for a variety of reasons, this didn't happen in 2009. But then, since this is a yearly festival, there is always next year – 2010.
Tenors, Basses and Young Opera Singers at Singing Competitions
Young Opera Singer – Yevhen Orlov
There were 12 young tenors, who wanted to sing the role of Count Vaudemont in P. Tchaikovsky’s Iolanta as part of the 3rd round at the Fourth Solomiya Krushelnytska International Competition of Opera Singers, on the stage of the Lviv Opera House.
To my great disappointment, not one of them was given the opportunity to do this, even though most of them have the necessary vocal abilities and performed well during the 1st and 2nd rounds of the competition.
As always, there were those who performed better and there were those who did not do so well. But, there is something strange when a tenor, who is a soloist with the National Opera in Kyiv, during the 2nd round of the competition shows a number of positive traits, in particular “reaching” the high C in the aria of Faust in G. Gounod’s Faust without difficulty, maintaining the fermata, gradually fading it and yet – he doesn’t make it into the 3rd round of the competition. Not only strange, but also sad and… embarrassing!
And so I wonder: what does it mean when I hear around me the popular and currently chic phrase “a crisis of available male voices”. To my mind, the crisis is not because there is a lack of voices, but because of something completely different. And, it isn’t due to 21st century life-styles or various environmental issues.
So, for this performance, I had to be satisfied with a wonderful young male bass singer – Yevhen Orlov in the role of Rene, the King. He is a medium range bass, with a rich timbre. And, he is only 26 years old. Someone to look out for in the future!
As for the other, I guess one can’t have everything in life.
A Symphony of Poetry By Myron Yusypovych
A Symphony of Poetry By Myron Yusypovych
Myron Yusypovych, a famous Lviv musician and conductor of the S. Krushelnytska National Opera and Ballet Theatre presented his first anthology of poems – «Why Bother Picking up a Violin?»…
… Myron Yusypovych introduced us to the secrets of the art of conducting, spoke about his orchestra tours throughout Europe…
The author explained the title of his anthology «Why Bother Picking up a Violin»: «Everyone of us should be masters of our profession… If you don't have what it takes to be a musician, you shouldn't pick up a violin.»
Solomiya Krushelnytska Competition for Young Opera Singers
S. Krushelnytska Young Opera Singers’ Competition
What are the benefits for a young opera singer when he or she participates in an international competition for opera singers?
I sincerely feel that there are benefits for every participant. This, in spite of and even because of the various conflicts and negative tendencies that took place, for instance, at the Fourth Solomiya Krushelnytska International Competition of Opera Singers, in Lviv, Ukraine,
Competitions provide opportunities for all participants to realistically evaluate their artistic potential. Even if young male and female opera singers don’t win, they gain invaluable artistic and life experiences.
Ironically, competitions offer the opportunity for some young singers to strengthen themselves psychologically, when they meet with deception and cynicism. Unfortunately, there are also those, who do not withstand the disappointments and break down or lose heart.
For me, as a conductor and more importantly as a human being, the key issue in all of this is, whether the young singers, who lose heart and break down are those who don’t really have the necessary inherent talents or, are we witnessing the destruction of bright young individuals, who have a great gift, but also “a thin and sensitive skin” and can’t endure the uncompromising brutality and cynicism of those who “decide” their fate.
It goes without saying, that the level of any international competition is not determined by the monetary amount, that is awarded to the winners, but by the competencies, professionalism and ethical and moral norms and principles of the people who “decide” the results, in short – the judges. Unfortunately, the experience in Lviv has confirmed the inevitable truth: the more corrupt the state, the more corruption there will be at any competition, that is taking place in that state.
I am thinking of two young singers n particular – a soprano and a tenor. In the first round of the competition, the young soprano from the USA bewitched all those who heard her Manon from G.Puccini’s Manon Lescaut, but was brutally excluded from the second round. There was also the young tenor from Ukraine, who performed the Faust aria from G.Gounod’s Faust with great inspiration and sincerity and then, at the end, almost playfully “reached” the closing fermata high C with an incredible, gradual fading, but was not allowed to continue. Unfortunately, I suspect that both these young singers will conclude that it is not worthwhile to travel to this country and to participate in this competition. However, I sincerely hope that they will not completely lose their fire and interest in the art of singing and the artistic life.
So, The Fourth Solomiya Krushelnytska International Competition of Opera Singers is over. And, I am left with both a feeling of joy from hearing new and beautiful voices and a feeling of bitterness, filled with sadness and shame.
And yet, how fortunate it is, that there are those, who want to and are able to sing and that there are other competitions in the world that spot fresh talents and provide a springboard for new and genuine stars.
Sometimes a clapping audience is not enough!
Audience at the Lviv Opera House
There was a B-flat – strong and stable at the end of Radames' romanza. And yet, no one applauded. Why not? Because there was no «heavenly Aida». There was no «mystical wreath of light and flowers». Verdi's motivation for writing the opera «Aida» was missing.
That evening, I conducted this opera for the 70th time within the walls of the Lviv Opera and Ballet Theatre! For Radames, it was his 58th time. For Amneris – only her 4th.
But, there was a full house in the audience and most of those present, were probably hearing «Aida» for the first time. Ultimately, we didn't disappoint them. When it was all over, there was a standing ovation.
But, nevertheless, for me, how much more pleasant it would have been, if the tenor's B-flat at the beginning of the opera was not just a technical feat, but a mystical wreath of inspiration. Then the «Triumphal March» in Act II would resound more brightly.
«Why Bother Picking up a Violin?»
A book of poems by Myron Yusypovych
Understandably, the publication of my collection of poems was, if not a shock, then a great surprise for my colleagues and friends.
To my mind, that's okay! Sometimes, it can be delightful to surprise some of the people some of the time. After all, far better to amaze than to dissappoint.
How? Why? Since when? I was asked these and other questions during the presentation of my collection, «Why Bother Picking up a Violin?» on October 9, at the «Dzyga» Art Centre in Lviv, Ukraine.
Many things were said that evening about my poems. But, what I remember the most is: «These texts are very expressive and emotional, but, at the same time, very strictly organized.» Well, what can I say? Not bad! And, for a conductor, it can probably be said, that such a combination is almost ideal.
International Music Day
Curtain Call – International Music Day
International Music Day, which was initiated by Yehudi Menuhin and organized by the International Music Council in 1975 occurs every year on October 1. This year (2009), I had the opportunity to commemorate this day on stage, conducting G. Verdi's Nabucco at the Lviv Opera. Although that evening, it was not a full-house the atmosphere in the theatre was, nevertheless, quite uplifting and the audience responded well to our attempts.
This production, part of the repertoire at the Lviv Opera, I associate with my old conductor's tails – well cut, well put together and although no longer new, if cleaned and ironed before every performance, they «sit» and shine even better than some of these newer and fresher variants. So, there you are! It all depends on the tailor. English fabric by itself a good coat will not make. And, mind you, these tails are almost 10 years old.
So, that is why it was indeed wonderful to hear after this performance, the excited exclamations after this performance of some musical «specialist» from Vienna, as well as some experienced music lovers from London.
«Iolanta» - P. Tchaikovsky's Final Opera
Final Scene in Tchaikovsky's Iolanta
From among all of P. Tchaikovsky's operas, the one I most enjoy conducting is – «Iolanta».
What is important for me, is, strangely enough, not just this opera's music. In this particular case, of particular interest is the fact that the literary source led the composer in a very different direction. Being Tchaikovsky, he maintained a maximum clarity, passion and even exaltation while going down the path in seeking a spiritual balance, a positive reassesment of life and a personal reconciliation. In «Iolanta» we are able to see and hear Tchaikovsky attempting to reach something he had aimed for, during a major part of his life and without which, he suffered to the final days of his life.
Two years before his death, for a short period of time the evil «phantom» released him. The dark and leaden clouds of frozen St. Petersburg, so evident in «The Queen of Spades» (1890), blew away and there came an enlightenment, which gave birth to this completely different «radiant music».
Probably, in the final years of one's life, we are more open to reconciliation, harmony and peace.
«To see» and «to hear» that, which throughout one's life was always alongside, but which we didn't see among the never ending hussle and bustle, is the essence of happiness. To see and to be satisfied by «God's endless goodness» which «has no limits» is a guarantee of joy. The role and meaning of a religious element is undeniable and requires no explanation.
But, it would appear that attaining such level of joy doesn't happen in and of itself. If we don't make an effort to understand this, then the leaden clouds, the evil clouds of the «phantom», will once again cover the sun and will supress the momentarily released, tormented soul.
And so, P. Tchaikovsky completed «Iolanta» in 1892, and in 1893 he gave us the difficult Sixth Symphony in B-Minor, the «Pathetique» and then, … the composer's death.
Atheist Elements Removed from Tchaikovsky's Iolanta
Iolanta Lviv Opera
It has been about two years, since Pyotr Ilyich Tchaikovsky's Iolanta was last performed at the Lviv Opera. While working on its renewal, I once again experienced the uniqueness of this masterpiece.
Interestingly, during the Soviet period this opera was staged very frequently. However, the libretto, or text was always altered from its original. Religious connotations and Christian moral values are fundamental, key elements in various episodes of this opera. And yet, I still remember when all such references were uncompromisingly erased and a «new» non-religious and abstract text was inserted in their place.
So, for example, in the final moments of the opera, a hymn to the Almighty «Praise be to You!» was changed to a glorification of the physical world: «we will glorify light, the source of all wealth». To emphasize the physical, during the final chords of the opera all of the house lights would be brought up.
Thankfully, all of this is in the past!
Translation note: The Russian word «свят» (sviat) means «holy», while the word «свет» (sviet) means «light».
Best Books Contest at the 16th Book Forum
Best Books Contest 2009, Oleksandra Koval, Myron Yusypovych
I was invited to paticipate as a judge in the Best Books Contest, that was part of the 16th Annual Book Forum in Lviv.
As a judge, I noticed the elaborate and expensive publications dealing with the theme of Ukrainian art. Most of these books are published according to high quality standards for content and visual appeal and, unquestionably, are valuable and important. For me, however, they became secondary.
I was drawn more to several unassuming, contemporary books which, over the course of the past few years, have become best-sellers in the West. For the first time, these books have been published in Ukraine and in the Ukrainian language. I am referring to such well known European authors as Edward Lucas, Hélène Blanc and Astolphe de Custine.
Although somewhat unusual for today's Ukrainian reader, the material presented in these books is remarkably current. It gives us an opportunity to soberly examine our uneasy life today, reevaluate some aspects of it, remove some blank spots, cease looking at the world through rosy glasses and reaffirm for ourselves that nothing in life happens by chance. For everything there is a reason and for every action a reaction.
It is in this light that we need to examine the recently reprinted «The Exterminated Rennaissance» by Yuriy Lavrinenko. This anthology of Ukrainian literature was initially published in Munich, in 1959.
Reading this anthology, I better understood the root of Ukraine's current problems. In 1930, there were 259 Ukrainian writers and poets, who were publishing their works in the USSR. After 1938, only 37 of them were still alive (!!!). Those who disappeared, were either shot and executed or committed suicide or simply perished in Siberia. Writers are members of a nation's elite and the fate of Ukraine's entire elite is reflected in these statistics.
Without question, such a «yesterday» has «resounded» in our «today».
Knowing this overshadowing and unavoidable fact, it is up to us to change this «present» for a better «future».
The Tsar's Bride is an anti-totalitarian, not an anti-Russian production, claims opera conductor, Myron Yusypovych
The Tsar's Bride is an anti-totalitarian, not an anti-Russian production, claims opera conductor, Myron Yusypovych
«I've lived with the idea of creating this production for a long time… To my mind, there is much in common with the totalitarian regimes of the 20th c. and those of the era of Oprichnina during Ivan the Terrible's time… Present-day totalitarianism (1917, 1937) draws its roots from that time. Oprichnina, as a phenomenon, gave birth to the Cheka, MVD… Although the characters of Ivan VI, Malyuta Skuratov are historical, this opera lends itself well to being produced as a reflection on the 20th c. … such abuse of power was evident during the time of Lenin, Dzerzhynsky, Stalin, Beria…
Malyuta Skuratov, who killed a bishop with his own hands gouging out his eyes and quartering him, who manipulated Ivan the Terrible, who attacked a boyar (noble) whom he had betrayed, took his wife, raped her and then hung her upside down on the door frame, is no different from those who committed atrocities in the 20th c. when people lived in constant fear of being forcibly removed from their homes in the middle of the night. At least, I don't see any differences. On the contrary, the wheel of history repeats itself.
I have been asked whether or not I see this opera as being anti-Russian. No, I don't. For me, it is anti-totalitarian…
My idea was to portray at least three periods on stage: first – 1917, the second act in a Moscow suburb in 1937…. and only the last act would be staged in the original period. For me, it is not the outward visual trappings that are important, but the content…
Totalitarism is capable of rebirth. I see this as a possiblity not only here, but also everywhere….» -- said, the production conductor of the Lviv Opera's The Tsar's Bride, Myron Yusypovych…
N. Rimsky's-Korsakov's «The Tsar's Bride» Premiere
N. Rimsky-Korsakov’s “The Tsar’s Bride” at the Lviv Opera
For quite some time now, I have been obsessed with the idea of an opera production at the Lviv Opera House where «the center of gravity» is not on the brilliant outer trappings of the production (i.e. decorations and costumes, which have always been on a high level, even though a little old-fashioned), but on the clarity of the musical and dramatic performance itself.
In the current production of «The Tsar's Bride» by N. Rimsky-Korsakov, we have been able to achieve this to some degree. As conductor and to a large degree the stage director of this production, the fact that there was not enough money for a «full fledged» production that would have allowed us to recreate fully the era of Ivan the Terrible through decorations and costumes, did not sadden me too much.
Traditionally, the audience has come to expect glamourous and expensive productions at the Lviv Opera House. It was, therefore, indeed a pleasure to see this same audience react positively and with enthusiasm to an «atypical» production of «The Tsar's Bride» at its permiere on June 19, 2009.
So, the opera stage doesn't necessarily have to be a fashionable kaleidoscope of expensive costumes, magnificient paintings, decorations and staging akin to a concert-oratorio.
This time the emphasis was on a clear recreation of the drama through sound and action. And this, in turn, was acknowledged by the listeners themselves. Not surprisingly, for after all, this is the essence of opera.
Oksana Herasymenko and the Bandura
l-r: Oksana Herasymenko, Myron Yusypovych
Sometimes it is completely acceptable to exchange my black tails for a white tuxedo. To my mind, there comes a time when it is it good to put aside Wagner and Tchaikovsky and take on someone like Astor Piazzolla, who is so beloved by an honest and undemanding audience.
However, this time it wasn't Piazzolla and the tango, but Oksana Herasymenko and the bandura. There was even an oboe, a flute and the Lviv Chamber Orchestra «Lviv Virtuosos».
It isn't often that one is able to work with contemporary composers who are capable of creating real beauty using non-stereotypical melodies.
Oksana Herasymenko is truly competent.
Additionally, she opens up new horizons for the bandura. For Oksana Herasymenko, the bandura is not just an instrument that is an atribute of Ukrainian folklore, but something extraordinary, refined, unique and enchanting.
This was an evening full of inspiration and beauty.
And now, I can return to Aida.
Otto Biba of the Society of Music Lovers (der Musikverein), Vienna attended Nabucco
l-r Myron Yusypovych, Otto Biba
G. Verdi’s opera Nabucco was successfully performed once again on May 21, 2009 at the Lviv Opera House.
I was pleasantly surprised when that evening a specialist in music and the current Archive Director of the Association of Music Lovers of Vienna Archives (Musikverein) was in the audience. And so, the quality of the performance was acknowledged not only by that evening’s audience, but also by this important guest from Vienna, who, while being in Lviv, happened to come to this performance at the Lviv Opera House.
I don’t conduct in order to please the critics, and yet… it is indeed a pleasure, when not only sensitive and gushing ladies express their enthusiasm for my work, but a knowledgeable expert, who is aware of the minute details of my craft. That is indeed gratifying!
Young Lviv Singers Perform in a Recital
Vasyl Sadovskyy, Nadiya Zaborska, Lyubov Dika, Myron Yusypovych, Natalya Pavloska, Serhiy Sevastyanov, Svitlana Monchuk
Young Lviv Singers Perform in a Recital
A recital closed the Ira Malaniuk 90th Birthday Exhibit at the Solomiya Krushelnytska Musical Memorial Museum in Lviv on April 6, 2009.
Recital participants were all members of the Vocal Workshop Studio at the Ukrainian Federation of Theatrical Artists (Lviv branch) and performed under my musical direction.
Svitlana Monchuk (soprano), Lyubov Dika (mezzo-soprano), Nadiya Zaborska (soprano), Vasyl Sadovskyy (tenor) and Serhiy Sevastianov (bass) performed various fragments from operas. The recital included pieces from: «Orpheus and Euridice» by C.W. Gluck, «The Marriage of Figaro» by W.A. Mozart, «Lohengrin» and «Tannhäuser» by R. Wagner, «Tales of Hoffmann» by J. Offenbach, «Aida» by G. Verdi, «Borys Godunov» by M. Mussorgsky and «Natalka Poltavka» by M. Lysenko. At one time during her brilliant career, Ira Malaniuk performed all of these arias on some of the most prestigious stages of Europe.
Natalya Pavlovska accompanied the performers clearly and exceptionally in this interesting program. The difficult program was inspiring and performed very professionally. Most importantly, new and bright vocal talents of Lviv had a chance to shine.
Roman Tsymbala Returns as Radames
Roman Tsymbala (tenor)
On April 4, 2009, after a 10-year hiatus, the tenor Roman Tsymbala performed the part of Radames in the opera Aida.
His return to the Lviv Opera stage was successful and I am especially pleased. It is well known that it is quite a challenge to find a tenor that is consistent and performs the role of Radames on a high level. For me, this means that there is a good soloist, who, because of his mastery of this very complex role, will be able to ensure the continued and regular performance of the opera Aida. Incidentally, Aida is one of the highlights of the Lviv Opera Theatre’s repertoire.
Two young male opera singers debut in the Verdi opera Aida
Ihor Nazarov (Ramfis), Myron Yusypovych (conductor), Andriy Benyuk (Amonasro)
On February 15, 2009 Andriy Benyuk and Ihor Nazarov, two young Ukrainian male opera singers debuted in new roles in the Verdi opera Aida, on the stage of the Lviv National Opera House.
Andriy Beyuk, a young baritone, performed the role of Amonasro, Aida’s father and King of Ethiopia. Born in 1970, Andriy has performed a number of leading roles in performances that I have conducted on the stage of the Lviv National Opera House: Robert in the opera Iolanthe by P. Tchaikovsky, Silvio in the opera Pagliacci by P. Leoncavallo and Nabucco in the opera Nabucco by G. Verdi.
Ihor Nazarov, a bass, performed the role of Ramfis, the high priest. Born in 1977, Ihor has also performed several leading roles in performances that I have conducted in Lviv, Ukraine: the High Priest in Nabucco by G. Verdi and the King of Egypt in Aida by G. Verdi.