Solomia Krushelnytska and Ukrainian artistic emancipation in Galicia

Relevance of research. The problem of emancipation in the Ukrainian, particularly Galician musical environment of the end of the 19th and the first half of the 20th centuries is updated in the projection of the phenomenon of creativity of the outstanding opera singer Solomia Krushelnytska. The purpose of the article. Different approaches to the very phenomenon of emancipation in various European social and cultural traditions are analyzed, the socio-historical context of emancipation as a general trend of European civilization of the given period and its variant in the Ukrainian Galician society is presented. Methods. In the article comparative, systematic and historical research methods are used. The results and conclusions. It is indicated how the life style of S. Krushelnytska was formed in the context of a peculiar Galician version of the affirmation of the creative potential of Ukrainian women at the turn of the 19th and 20th centuries. A detailed study of the singer's epistolary, memoirs and scientific research on the issue of the emancipation of Ukrainian women artists made it possible to single out the main principles on which the "life project" of S. Krushelnytska as a national artist in the world opera continuum was formed. From the analysis of the views of the singer herself and the observations of her close circle and critics, it emerges, firstly, the integrity of the aesthetic, ethical and nationally oriented beliefs of her worldview, and secondly, the specificity of her "Apollonian" psychotype of creativity is determined, which allowed S. Krushelnitsky to overcome the limitations of a certain stage role and to grasp the most diverse repertoire of different national schools and eras, and thirdly, to naturally integrate the national soloist into concert programs with the widest panorama of European music, taking into account socio-historical processes of the past and present.