Written repertoire catalogue

This catalogue is the central finding aid for Orpheus and Lyra. Its written entries can be followed by work, composer, poet, role or performer. Some entries are detailed enough to include a venue and year; others consist only of short labels. The tables keep that difference visible rather than smoothing every item into a false completeness.

Renata Babak: opera roles and arias

Ukrainian opera and art song

Franco Corelli: selected documented captions

Corelli’s page provides the fullest dated sequence outside the Babak material. It includes Radamès in Aida at Teatro Verdi in Trieste in November 1956 and at La Scala in December 1956; Andrea Chénier in March 1957 and at La Scala; Don José in Carmen with Giulietta Simionato in Verona in 1955; Pollione in Norma at the Arena di Verona in 1958; the title role of Poliuto with Maria Callas at La Scala in December 1960; Romeo at the Metropolitan Opera in September 1967; and Werther there in 1971.

Additional work associations include Tosca, La bohème, La fanciulla del West, Il pirata, Turandot, Adriana Lecouvreur, Fedora and Gounod’s Faust. See the full Corelli role page for the careful caption-by-caption treatment.

Solomiia Krushelnytska: role index

The collection associates Krushelnytska with Loreley, Marguerite in Faust, Elsa in Lohengrin, Elektra, Klytaemnestra in Gnecchi’s Cassandra, Amelia in Un ballo in maschera, Tatyana in Eugene Onegin, Brünnhilde in Die Walküre, Halka, Salome, Chio-Chio-San, Aida, Leonora and the Countess in The Marriage of Figaro. The performer page keeps missing work titles and dates open where the captions do not supply them.

Other performer trails

Taras Shtonda, identified as a Ukrainian bass and associated with pianist Anastasiya Titovych, has labels for a folk song, an art song, a Boris Godunov scene, Taras Bulba and Schumann. Ivan Kozlovsky has a “Natalka” label, an unidentified duet and the documented Lohengrin caption with Babak. Nikolai Pechkovsky’s entry includes labels for Otello, Canio and “Rafael,” but the last item is too incomplete to identify further.

The wider collection also names Mykhailo Gryshko, Zinoviy Babii, Yevhenia Miroshnychenko, Boris Gmyria, Sofia Preobrazhenskaya, Feodor Chaliapin and George London. The available detail is not sufficient for individual biographies, so their names remain catalogue leads rather than embellished profiles.

Recital labels

A separate recital group uses descriptive labels: a Georgian song, a vocalise by Ravel, a German art song, a Spanish art song, an elegy, an echo piece and “Polo.” These entries do not consistently identify performer, poet, opus number or exact title. They are included only at the level supported by the label. “Kuma,” associated with Russian aria repertory, is likewise kept as an unidentified lead.

Ukrainian tango index

The tango feature supplies more than thirty titles. Bohdan Vesolovskyi is associated with Sorrow, Fly, Sad Song, Stefo, Heart, Come Back, Time Will Come, After Sunset and many others. Stepan Huminilovych, Yaroslav Barnych, Marta Pashkivska, Olha Ilkiv, Volodymyr Vermenych, Myroslav Skoryk, Volodymyr Ivasiuk and several lyricists extend the repertory. The complete title discussion belongs on the Ukrainian tango page.

How to read incomplete entries

A blank field is intentional. It means the collection did not supply enough information to make a secure attribution. Readers can use the remaining composer, title, role or performer as a starting point in library catalogues and score collections. The International Music Score Library Project is one verified general resource for public-domain scores and bibliographic orientation.

The catalogue is a written reference. It identifies repertory through titles, roles, composers, poets and performers. Its purpose is the durable relationship among words, music and performers.