Jablonski, Marek (Michael)

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Muzïkal'noye izdatel'stvo P. Yurgensona v Moskve: 1861–1911 [The music publishing house of Jürgenson in Moscow] (Moscow, 1911)

B.L. Vol'man: Russkiye notnïye izdaniya XIX–nachala XX veka [Russian music publishing in the 19th century and early 20th] (Leningrad, 1970)


Jurinac, Sena [Srebrenka]

(b Travnik, 24 Oct 1921). Austrian soprano of Yugoslav birth. She studied at the music academy at Zagreb and was a singing pupil of Milka Kostrenćić. She made her début at the Zagreb Opera just after her 21st birthday, as Mimì, and in 1945 she joined the Vienna Staatsoper (Cherubino, 1 May), remaining with the company. She appeared at the Salzburg Festival in 1947, soon after sang Dorabella in two of the Vienna company's performances at Covent Garden, and the following year made a deep impression in the same role with the Glyndebourne Opera Company at the Edinburgh Festival. At Glyndebourne, where she first appeared in 1949 and at once became a great favourite, she impressed with an assumption of Fiordiligi (1950) as accomplished as her Dorabella had been the year before. Although best known early in her career for Mozart, she built up an extensive repertory covering a wide range of parts. She appeared at most of the world's leading opera houses, maturing from roles such as Cherubino, Octavian, Marzelline and Ilia (Idomeneo) to the Countess, the Marschallin, Leonore and Electra. Among her other notable roles were the Composer (Ariadne auf Naxos), the two ladies in Don Giovanni, Elisabeth (Tannhäuser and Don Carlos), Jenůfa, Cio-Cio-San and Tosca, Desdemona, and later Marie (Wozzeck), Poppaea and Iphigenia (Iphigénie en Tauride).

Jurinac's voice was beautifully pure, rich and even throughout its range, and although she did not always sound to best advantage in her numerous recordings, the finest of them faithfully convey the integrity, eloquence and commitment that made an unforgettable impression on two generations of opera-lovers. The ardent, youthful singer of the 1940s and 50s grew into the sensitive, reflective artist of the 60s and 70s. Although she appeared frequently as a concert and lieder singer, she will be remembered as one of the outstanding operatic sopranos of her time, generous of voice and radiant of personality. This is reflected in her recordings of Ilia, Marzelline, Leonore and Octavian.

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