Viorica Ursuleac, Ukrainian-Romanian soprano and actress (d. 1985)

Viorica Ursuleac, a name etched into the annals of operatic history, was a distinguished Romanian soprano whose career spanned several vibrant decades of the 20th century. Born on March 26, 1894, in Chernivtsi, a city then part of Romania and now in Ukraine, her life's journey would lead her to grace some of the world's most prestigious stages. She passed away at the age of 91 on October 22, 1985, in Ehrwald, Tyrol, where she had resided for many years.

Early Life and Grand Debut

Viorica Ursuleac's early life was rooted in a spiritual household, as she was the daughter of a Greek Orthodox archdeacon. This upbringing, perhaps, instilled in her a discipline and profound understanding that would later define her artistic interpretations. Following rigorous training in Vienna, the vibrant heart of classical music, Ursuleac made her eagerly anticipated operatic debut in 1922. It was in Zagreb (then known as Agram) that she first captivated audiences as Charlotte in Massenet's lyrical opera, Werther, marking the beginning of an extraordinary career.

A Star Ascends: Major Operatic Engagements

From her debut, Ursuleac’s ascent was swift and decisive. Her powerful and expressive voice, coupled with her dramatic presence, quickly made her a sought-after performer across Europe's leading opera houses. She held principal engagements at several key institutions, each stint cementing her reputation further:

• Vienna Volksoper: 1924–1926
• Frankfurt Opera: 1926–1930 (During this period in Frankfurt, she also married the renowned Austrian conductor Clemens Krauss, a partnership that would profoundly influence her career and life.)
• Vienna State Opera: 1930–1935
• Berlin State Opera: 1935–1937
• Bavarian State Opera: 1937–1944

The Muse of Richard Strauss

Perhaps no relationship defined Viorica Ursuleac's career more profoundly than her close artistic bond with the legendary German composer Richard Strauss. He held her in exceptionally high regard, affectionately calling her "die treueste aller Treuen" – "the most faithful of all the faithful." This deep admiration was mutual and led to an unparalleled collaboration, with Ursuleac becoming Strauss's preferred soprano.

Her commitment to Strauss's works was not just interpretative; it was formative. She sang in the world premieres of no fewer than four of his operas, an extraordinary testament to her vocal prowess and artistic understanding:

• Arabella (1933): A romantic comedy, where her portrayal of the title character became one of her most beloved roles.
• Friedenstag (1938): A poignant anti-war opera, notably dedicated by Strauss himself to Ursuleac and her husband, Clemens Krauss.
• Capriccio (1942): Strauss's final opera, a profound exploration of opera itself.
• Die Liebe der Danae (1944): Although its official public premiere was delayed due to wartime events, Ursuleac sang in its crucial public dress-rehearsal.

These premieres positioned her at the very heart of contemporary operatic creation, allowing her to define these roles for future generations.

International Stages and Expansive Repertoire

Viorica Ursuleac's talent resonated far beyond German-speaking territories. She was a regular presence at the prestigious Salzburg Festival between 1930–1934 and again in 1942–1943, a testament to her consistent demand at the pinnacle of the operatic world. In 1934, she graced the stage of London's Covent Garden for a season, introducing English audiences to the first performances of Jaromír Weinberger's folk opera Schwanda the Bagpiper and, naturally, her cherished role as Arabella.

While at the Royal Opera, she also delivered a memorable performance as Desdemona in Verdi's tragic masterpiece Otello, sharing the stage with the heroic tenor Lauritz Melchior and under the baton of the esteemed Sir Thomas Beecham.

Her powerful presence extended to Milan's illustrious La Scala, where she tackled demanding roles like the Empress in Strauss's ethereal Die Frau ohne Schatten and Chrysothemis in his intense Elektra. She also showcased her versatility in Mozart's comedic Così fan tutte and Wagner's epic Die Walküre as Sieglinde. Ursuleac's only appearances in the Americas took her to the Teatro Colón in Buenos Aires in 1948, where she sang Brangäne in Wagner's Tristan und Isolde opposite the legendary Kirsten Flagstad, marking a rare and significant transatlantic journey.

Her extensive repertoire demonstrated her remarkable range and adaptability, encompassing both lyrical and dramatic roles. Beyond the roles mentioned, it included:

• The Countess Almaviva (The Marriage of Figaro)
• Donna Elvira (Don Giovanni)
• Leonore (Fidelio)
• Senta (Der fliegende Holländer, with Hans Hotter)
• Amelia Grimaldi (Simon Boccanegra)
• Amelia (Un ballo in maschera)
• Leonora (La forza del destino)
• Élisabeth de Valois (Don Carlos)
• Tosca
• Minnie (La fanciulla del West)
• Suor Angelica (opposite Luise Willer)
• Turandot (opposite Erna Berger's Liù)
• Der Rosenkavalier
• Ariadne auf Naxos (first as the Composer, then as Ariadne)
• Die ägyptische Helena, and many more.

Accolades, Recordings, and Legacy

Viorica Ursuleac's contributions to opera were recognized with high honors. She was granted the prestigious title of an Austrian Kammersängerin in 1934, followed by a Prussian Kammersängerin in 1935, acknowledging her as a leading voice in both the Austrian and German operatic traditions. She officially bid farewell to the operatic stage in 1953, choosing the role of the Marschallin in Strauss's beloved Der Rosenkavalier in Wiesbaden for her final performance, a fitting culmination to her remarkable career.

Even after retiring from active performance, her dedication to music continued. In 1964, she was appointed professor at the esteemed Salzburg Mozarteum, where she passed on her invaluable experience and artistry to a new generation of musicians. Ursuleac also left behind a recorded legacy, making recordings for Deutsche Grammophon in 1933, 1936, and 1943. These valuable historical recordings feature excerpts from many of her signature roles, including Arabella, Le nozze di Figaro, Tosca, Turandot, Der Rosenkavalier, Il trovatore, and Capriccio, alongside two Lieder by Richard Strauss. Her artistry was further enshrined in operatic history with her inclusion in Volume III of EMI's revered compilation, The Record of Singing, featuring an excerpt from Arabella recorded in 1933.

While some critical assessments of her recorded voice suggest it lacked the sheer beauty of some contemporaries, Viorica Ursuleac was universally acknowledged as a musician of profound intelligence and an actress of compelling power. As her colleague, soprano Hildegard Ranczak, once observed: "Although she had a lovely, facile top, I was constantly amazed at the two hours' vocalizing she went through before each performance. Hers was, in my opinion, a marvelously constructed, not really natural voice which she used with uncanny intelligence." This insight speaks volumes about her dedication, technical mastery, and intellectual approach to her craft, allowing her to deliver performances of immense dramatic impact and musical integrity.

Even decades after her death, Ursuleac's presence in operatic discourse endures. She was famously interviewed in the 1984 documentary, Richard Strauss Remembered, narrated by Sir John Gielgud, providing invaluable first-hand insights into the composer and his works from one of his most trusted interpreters. Her long and distinguished career, marked by her deep artistry and dedication to new works, ensures Viorica Ursuleac's lasting place as one of the 20th century's most significant operatic sopranos.

Frequently Asked Questions about Viorica Ursuleac

Who was Viorica Ursuleac?

Viorica Ursuleac was a celebrated Romanian operatic soprano (1894–1985) renowned for her dramatic interpretations, particularly in the works of Richard Strauss, who considered her his favorite soprano.

When and where was Viorica Ursuleac born?

She was born on March 26, 1894, in Chernivtsi, which was then part of Romania and is now located in Ukraine.

What made Viorica Ursuleac famous?

Ursuleac gained fame for her powerful vocal performances and strong acting skills, her close collaboration with Richard Strauss (singing in four of his opera premieres), and her engagements at major opera houses like the Vienna State Opera, La Scala, and Covent Garden.

Which Richard Strauss operas did she premiere?

She premiered four Richard Strauss operas: Arabella (1933), Friedenstag (1938), Capriccio (1942), and the public dress-rehearsal of Die Liebe der Danae (1944).

Who was Viorica Ursuleac married to?

She was married to the distinguished Austrian conductor Clemens Krauss, a significant partnership in both her personal and professional life.

What was her most famous role?

While she excelled in many roles, her portrayal of Arabella in Richard Strauss's opera was widely considered her favorite and one of her most iconic.

Did Viorica Ursuleac make any recordings?

Yes, she made several recordings for Deutsche Grammophon in the 1930s and 1940s, featuring excerpts from her signature roles in operas by Strauss, Mozart, Verdi, and Puccini.

When did Viorica Ursuleac retire?

She gave her farewell performance in 1953 in Wiesbaden, in the role of the Marschallin in Richard Strauss's Der Rosenkavalier.

What special titles did Viorica Ursuleac receive?

She was honored with the title of Austrian Kammersängerin in 1934 and Prussian Kammersängerin in 1935, recognizing her status as a leading operatic artist.

When did Viorica Ursuleac die?

She passed away on October 22, 1985, at the age of 91, in Ehrwald, Tyrol, Austria.