Volodymyr Hryshko, a noted Ukrainian operatic singer, has of late performed practically only with the Mariyinsky Company in St. Petersburg, directed by the famous Valery Georgiyev. They have toured the United States where Hryshko sang the male lead in Shostakovich’s Katerina Izmailova.
The premiere in Los Angeles (the local opera is directed by none other than Placido Domingo) gathered music lovers from all over the continent, some enthusiasts flying all the way from Japan. For a number of years the Mariyinsky production has been considered one of the best interpretations of the opera. During the US tour Larissa Shevchenko and Volodymyr Hryshko had the lion’s share of success as performers of the leading parts.
Shortly after his return to Kyiv, Mr. Hryshko shared his impressions with The Day.
What makes the part of Sergey so difficult is not only that the vocal performance has a lot of hidden reefs, scaring off quite a few tenors (they are afraid for their voices), but also the fact that in Molostovaya’s production the actor must have an attractive physique.
V. H.: That’s right. Sergey struggles with Katerina in the bedroom, then they make love. Under the scenario he performs 25 push-ups and then sings. Meaning you got to have your voice and be in a good physical shape. Valery Georgiyev wanted me to sing in 4-5 performances, but I was scheduled for a solo tour, so I sang only in two. Then I had to fly to Canada. There I sang my first Turidu in Mascagni’s Cavalleria Rusticana in Montreal.
The fact that Georgiyev let you go on tour while with his company shows his respect. This outstanding conductor is said to be a merciless taskmaster, firing musicians for the slightest act of disobedience.
Indeed, with him discipline comes first. I don’t think that any other company anywhere in the world could spend ten hours crossing the Atlantic from St. Petersburg to Los Angeles and hold the dress rehearsal the next morning. That’s Georgiyev for you. And the competition is severe. At his company the watchword is that only the strongest survives.
But you landed in Montreal seven days late.
I had to sing the part of the Sicilian, Turidu. I did and realized that it had worked when, after the first performance (there were five in all,) Italians from the audience came to congratulate me. They thought I was Italian, saying only one born in Sicily could make such an impassionate, temperamental dramatization. I answered them in Italian, explaining that I was Ukrainian, but they didn’t seem to believe me. Marco Parisotto, the conductor, standing nearby, laughed and showed me thumbs up. He then wrote a long complimentary letter to my agent.
What kind of atmosphere did you feel in Montreal?
Quite varied. Montreal is where the French-speaking Canadians live. During the rehearsals I was surprised to watch the US stage director convey instructions to the local cast through an interpreter, although everybody understood English, of course. I wanted to buy a vitamin drink and asked a salesgirl in English, but she said I should speak French, so I had to explain I was from Ukraine.
I was also surprised to read “We Remember Everything” under every automobile license plate. It reminded me of our “No one is Forgotten and Nothing is Forgotten” [inscription on the granite wall of the Piskariovskoye Memorial Cemetery in St. Petersburg with hundreds of thousands of victims of the Leningrad Blockade in 1941-43; text by Olga Bergholtz]. They say we Ukrainians are nationalists. After my trip to Canada, I’m sure we are no match for the Canadians there.
They know you in Canada. You also performed in Toronto. Were there people in the audience that had heard you previously?
Yes, there were Ukrainian Canadians, among them Hanna Troyan, Chairperson of Ukrainian Canadian Women’s League. She told me that the entire Ukrainian community was proud of me, except the women didn’t like the way I treated my sweetheart Santuzzi onstage. I received many invitations to visit their homes and they asked me to sing folk songs.
They must have treated you to Ukrainian dishes.
They certainly did, but American and Canadian food isn’t healthy. Pure chemicals. The apples, tomatoes seem made from plastic, lots of concentrates, lots of fruit and vegetables with altered genetic codes. My liver responded at once and very negatively. Back home, I went on a rigid diet immediately.
How about the tradition of taking fatback on your trips?
I did, but the Mariyinsky people each wanted to taste it, so I quickly ran out.
Are you going back to St. Petersburg?
Yes, I’m to sing the leads in La Traviata and La Boheme. Also, I have to prepare for the Russian Seasons at the Metropolitan Opera. Since I now work steadily with the Mariyinsky Company, I’ll have to say no to private contracts.
How about signing a contract with the National Opera of Ukraine?
I love performing in Kyiv, but I’d agree to sing only if they let me know at least three months in advance, so I could make adjustments in the Mariyinsky schedule. Regrettably, such advance planning is very seldom the case with the Kyiv Opera.
