Solomiya Krushelnytska, "Un bel di vedremo", Puccini: Madama Butterfly (rec. 1912)

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• published: 08 Jun 2010
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Salomea Krusceniski (or Solomiya Krushelnytska, 1872-1952) in "Un bel di vedremo" from Puccini's Madama Butterfly, a role she took in the successful premiere of the revised version of the opera in May 1904. The recording was made in 1912. This video features newly-found vintage photos, including a photo with Krusceniski and Puccini together. Comments made on the previous upload of the recording: lidatia: "Thank you! Solomiya Krushelnytska (Ukrainian:Соломія Крушельницька) (23 September 1872 Biliavyntsi,near Ternopil,Ukraine(then Austria-Hungary) - 18 November 1952 Lviv, Ukrainian SSR) was one of the brightest Ukrainian opera stars of the first half of the 20th century.Her name it's spelled about a dozen different ways, but it's the same singer. She was a fervent promoter of Ukrainian folk songs and works by Ukrainian composers. lidatia" Kievest: "Madame Krusceniski completely breaks my heart at 2:13! I love the way she rises to the challenge of the final climactic moment with a crescendo of emotion and exquisite lyrical singing! She is a magnificent storyteller and we can read the current of Butterfly's feelings in every detail of this sublime per- formance! Wonderful recording and very enlightening side text information, Tim! Excellent work as always!! Thank you!" opertutto: "Although there may not be as much involvement in this recording, it is not without merit. Post more of Krusceniski, please." meltzerboy: "I've heard Krusceniski before and she is highly praised by John Steane. Nonetheless, I do not like her singing of this aria; it sounds rather flat emotionally and the tone lacks luster and vitality. That's strange, because I recall hearing other recordings of hers that sounded much better. Still, of course, I thank you for sharing." dantitustimshu: "Hi Nate, thank you for your comment. Yes, the Butterfly aria is admittedly (and bewilderingly) not among Krusceniski's best records. Yet given the important role she had played in the history of opera in bringing recognitions to Puccini's Madama Butterfly, I decided to begin with this recording. Her recordings of arias from Aida, La Wally and Adriana Lecouvreur will follow up within the next few weeks." Sospello: "I had never heard a recording of hers, so this is doubly welcome as is your summary of her impressive career. Many thanks." CurzonRoad: "Amazing! Great artist... great recording! THANKS!" Herur22: "Thank you for letting us know this great singer. She was totally unknown to me."  Scalatti: "@Herur22 Ditto" The following biographical profile of Krusceniski by Andrea Suhm-Binder comes from the website "subito - cantabile: A site for collectors of Great Singers of the Past" (http://www.cantabile-subito.de): "Solomiia Krushelnytska was born near Lemberg (today Lviv, in Polish Lvov) in Western Ukraine, which was in the 19th century, part of the Austro-Hungarian Empire, having been folded into that Empire as a conquered province of Poland. The artist studied at the Lviv Conservatory under Valery Wysocki, one of the leading Polish teachers whose pupils included Janina Korolewicz-Wayda and Adamo Didur. She made her debut in 1892 as Leonora in Donizetti's La Favorita, at the opera house of Lemberg, and continued to study with F. Crespi in Milan. She appeared in Odessa (1896-1897), Warsaw (1898-1902) and St Petersburg (1901-1902). In 1898 she sang in Italy for the first time (Leonora in La Forza del Destino). She was highly successful and was invited to sing in Rome (1904-1905), Naples (1902/1904) and at La Scala in the seasons of 1898/1904/1907/1909 and 1915. In 1903 after becoming involved in a political demonstration in Warsaw she settled in Italy. At La Scala her Aida was a triumph. Her rendition of the title role in Puccini's Madama Butterfly in 1904 contributed to its admission to the world repertoire. She was the first Francesca in Mancinelli's Paolo e Francesca and took also part in the world premiere of Cilea's Gloria. A further milestone was her sensational Salome in Richard Strauss' masterpiece, conducted by Arturo Toscanini. In 1915 she created Pizzetti's Fedra. She made regular visits to Spain, Portugal and South America (Buenos Aires 1906/1908/1910-1913). At La Scala she was one of the leading figures in the introduction of the German repertory. She was an acclaimed Isolde, Brünnhilde, Elektra and Salome (sung in Italian). Her repertory included 60 roles. In the mid-1920s she turned from the opera stage to concert recitals in which she sang songs by Monteverdi, Mozart, Mussorgsky, Gluck, among other composers. She particularly enyoyed to sing Ukrainian folk songs to her own piano accompaniment. From 1944 until 1952 La Krusceniski taught singing at the Lviv Conservatory."