“Zaporozhets za Dunaiem” at Lviv National Opera
The opera “Zaporozhets za Dunaiem” (Cossacks in Exile), authored by S. Hulak-Artemovskyi, has been a highly popular production in Ukrainian theatre for several decades. However, only some performances of the Ukrainian repertoire have been as fortunate. Even Lviv Opera, which has a history spanning over 120 years, has staged only seven different productions of this opera. The upcoming premiere in 2023, directed by Oksana Taranenko, will be the eighth.
The opera’s popularity with the Soviet authorities is attributed to the fact that S. Hulak-Artemovskyi’s composition resonated well with the Soviet ideology.
The opera was written in 1862 and premiered at Mariinsky Theater in St. Petersburg (1863) and Bolshoi Theater in Moscow (1864-1865).
The author performed the role of Karas, and his work perfectly functioned in portraying Ukrainian Little Russians, specifically for Russians. It was also emphasized by the first edition of the libretto of the opera published in 1863, the author of which was also Semen Hulak-Artemovskyi. He defined the genre as “the original Little Russian opera in three acts, with choruses and dances.”
Following the Valuev circular in 1863, the opera was prohibited because of its Ukrainian language and the subsequent production of “Zaporozhets…” was not staged until July 11, 1884. The performance was given with the participation of a Ukrainian opera company.
Subsequently, during the Soviet era, “Zaporozhets za Dunaiem” served as a prime example, enabling the achievement of two objectives simultaneously: the widening of the Ukrainian repertoire and the consistent demonstration of the inferiority of Ukrainian culture. The plot was ideally suited for this and was filled with stereotypical images and situations: an elderly, drunken Cossack, a grumpy woman, a rural house with wooden fence and mallows, and spontaneous feasts of poor Ukrainians, providing a reason for laughter. A love story and a Turkish entourage complemented the story.
Nonetheless, the noteworthy contributions of artists who participated in various productions on the stages of Ukrainian theatres, and especially Lviv Opera, cannot be undermined because, among them, some sought to present Ukrainian art with dignity, even under the harsh constraints imposed by the Soviet occupation authorities.
The premiere of “Zaporozhets za Duniem” was held on July 19, 1941, at Lviv Opera, then known as the City Theater, under German occupation. This opera marked the opening of the theatre season. The performance was produced by the director Yosyp Stadnyk, conductor Lev Turkevych and set designer Myroslav Radysh. The leading roles were played by Ivan Rubchak (Karas), Yevheniia Pospiieva (Odarka), Olena Bentsaleva (Oksana) and Yosyp Poliakiv (Andrii).
The programme from the production of “Zaporozhets za Dunaiem” during the Nazi occupation
Ivan Rubchak, one of the performers of the leading roles in the premiere production, had already established himself as an accomplished interpreter of Karas’ character during that period. This role was the first big stage work of the singer and one of the leading in his career, with a record of over 1,200 performances beginning in 1903.
The actors were given very little time to prepare for a new performance. Despite their efforts, they could not completely shake off the directorial concepts from their previous productions of “Zaporozhets…” because the theatre’s creative staff had to be formed anew with the beginning of the German occupation. Despite this, S. Hulak-Artemovskyi’s opera remained popular among Ukrainians, and the new season was identified as “the first opera season in the history of the Ukrainian theatre in Lviv.”
The Ukrainian Music and Drama Theater, named after Lesia Ukraiinka, opened its season with another production of “Zaporozhets za Dunaiem” on September 1, 1944, after the Soviet regime returned to Lviv. The event was held at the former Skarbek Theater (now the National Academic Ukrainian Drama Theater, named after Mariia Zankovetska) because the City Theater required renovations. The company consisted of 470 people, including soloists, orchestra, choir, ballet, drama company, and technical staff, from both the Opera Theater and the Ukrainian Drama Theater named after Lesia Ukraiinka. Director Yosyp Stadnyk became the general manager.
A scene from the opera “Zaporozhets za Dunaiem” (1944)
The director of the new production was Petro Soroka, the conductor was Yaroslav Voshchak, the choreographer was Stanislav Falishevskyi, and the set designer was Mykola Ostroverkhov. The main parts were performed by Ivan Rubchak (Karas), Yevheniia Pospiieva (Odarka), Nina Shevchenko (Oksana), Vladyslav (Volodymyr?) Sheptytskyi (Andrii).
The cast of “Zaporozhets za Dunaiem” had a short production period because Lviv Opera and Ballet Theater formed its company with all the necessary artistic departments in early 1945. Some artists and staff from the production joined the Opera Theater, while others joined the Ukrainian Drama Theater named after M. Zankovetska. The Ukrainian Drama Theater began its performances in Lviv on November 26, 1944.
After renovations, Lviv Opera began its season on May 1 with a new production of “Zaporozhets za Dunaiem”, one of the six premieres of that season. The season ran from May to October 1945, and during that time, 107 performances were presented, which were attended by 87 thousand spectators.
The famous opera was given a new view by director Volodymyr Manzii, conductor Lev Brahinskyi, and set designer Oleksandr Khvostenko-Khvostov. Kyiv People’s Artists Ivan Patorzhynskyi and Mariia Lytvynenko-Wolgemut, along with Lviv artists, took on the leading roles and performed on the theatre stage.
A scene from the opera “Zaporozhets za Dunaiem” (1951)
Two more productions of “Zaporozhets…” were performed at Lviv Opera in the 1950s: on December 31, 1953 (director Volodymyr Kharchenko, conductor Lev Mandrykin, set designers Fedir Nirod, Oleksandr Salman) and on December 3, 1958 (conductor L. Honchar, director Oleksiy Ripko, set designer Fedir Nirod).
In 1971, the theatre presented a new production directed by Mykola Sheremetiev, with Ivan Yuziuk as the chief conductor. The creative team included set designers Tadei Ryndzak, Borys Kryvytskyi, and Larysa Stashchyshyn. The premiere was held in July of that year, with Viktor Luzhetskyi (Karas), Valentyna Herasymenko (Odarka), Tamara Didyk (Oksana), B. Petrenko (Andrii) and Oleksandr Vrabel (Sultan).
A scene from the opera “Zaporozhets za Dunaiem” (1950)
Lviv Opera’s longest-running performance is “Zaporozhets za Dunaiem” staged in 1987 and performed until 2019. Renewing of this unique Ukrainian classical production was a significant artistic achievement for the theatre and provided valuable training for young directors and performers. The show was created by a talented team including Mykhailo Dutchak (in his debut as conductor), director Volodymyr Dubrovskyi, set designer Mykhailo Ryndzak, choirmaster Orest Kurash, and choreographer Herman Isupov.
On July 18, 1987, the new version of the opera was premiered. Viktor Luzhetskyi as Karas was particularly impressive, while Tamara Didyk and Nina Tychynska in the role of Odarka confirmed their exceptional artistic talent. Liudmyla Bozhko and Olha Havrysh played Oksana, and Oleksii Danylchuk, Oleksandr Snytskyi, and Roman Tsymbala played Andrii.
This production was adored by audiences and was performed on the theatre stage for almost two decades. However, the current Ukrainian reality of a violent and bloody struggle for freedom and independence calls for fundamental changes.
The new production of Lviv National Opera, directed by Oksana Taranenko, proves that, by using a well-known plot, it is possible to break the humiliating stereotypes about Ukraine and its people that Russians have cultivated for decades. This new interpretation of “Zaporozhets za Dunaiem” will shift the historical perspective in a positive direction, emphasizing the true qualities that define us as a nation. This production will break the unfortunate circle of a so-called “brotherly” relationship, which has historically attempted to suppress the Ukrainian spirit.
We invite you to our favorite performance filled with the new concepts and senses extremely urgent in our reality.
Based on the works of S. Maksymenko, O. Palamarchuk and the archives of Lviv National Opera.
Natalia Mendiuk
Musicologist