His surname was Kyporenko and he was married to the actress P. A. Domanskaja, hence Kyporenko-Domanskyj.
Kyporenko-Domanskyj was born into a large family of shoemakers. He, too, worked as a shoemaker for a while.
After completing three years at a parish school, he moved to the conservatory in Kharkiv for the school year 1905/06.
As he could not pay the school fee, he was expelled.
In 1906, Kyporenko-Domanskyj sang in the choir of the Sukhodolskyj (other sources say the Suslov) company,
with whom he soon made his solo debut as Andrij (Zaporozhets za Dunajem by Hulak-Artemovskyj) and
Petro (Natalka Poltavka by Lysenko).
Next, he sang with various other touring companies, and in 1908 with the I. Shitkovskij company with whom he toured along
the Volga, Siberia and the Far East.
Kyporenko-Domanskyj's following appearances were:
Season 1909–1910: Kharkiv with the company of Panas Saksaganskyj.
1910: Odessa at the A. Sibirjakov Theater where the director was T. Kolesnichenko. He also appeared as an actor partnering Mark
Kropyvnytskyj (a really famous Ukrainian dramatic actor and playwrite).
Seasons 1910–1912: Kiev with the company of D. Haydamaky with whom he also sang in Warsaw (where
Aleksander Myszuga heard him in 1910 in Halka and praised him) and Moscow (1911, 1912).
From 1911 to 1916, he took singing lessons with S. Lapinskij in Moscow, while pursuing his career.
1912–1917: Moscow with the S. Zimin company (debut as Sobinin)
1917–1919: Moscow with the Theater of the Council of Workers' Deputies (the new communist name for the Zimin opera)
1919–1921: Saratov
1921–1922: Rostov on Don
1922–1923: Kharkiv, where he returned to for guest appearances in 1924 and 1925
1923–1924: Kiev
1924–1925: Sverdlovsk (today Ekaterinburg)
1925–1926: Tbilisi
He also made guest appearances in Leningrad, Moscow (Bolshoj, 1926), Baku (1926), Odessa (1925, 1926–1927),
Astrakhan (where he was invited by baritone and theater director Maksimilian Maksakov).
In 1927, Kyporenko-Domanskyj was sent to Milano for further study with maestro E. Tanaro. He studied José,
Manrico, Cavaradossi and Canio. He appeared in several opera houses in Italy and Spain.
After his return, he sang in:
1928–1930: Odessa
1931–1939: Kharkiv and Tbilisi
1939–1941 and 1944-1949 (with guest appearances later on): soloist with the Taras Shevchenko Opera House in Kiev.
1940–1944: appeared in Tbilisi and in 1944 in Kharkiv.
In 1933, Kyporenko-Domanskyj, together with a group of Ukrainian singers/actors, went on a tour of the Far East; in 1936 to
Moscow (Bolshoj, ten-day Festival of the Ukrainian Literature and Art); and in 1945 to Yugoslavia, Austria and the GDR (appearances
before military units).
Between 1949 and 1955, Kyporenko-Domanskyj made guest appearances in Lviv, Odessa, Kharkiv, and Sverdlovsk. He also appeared several
times on radio and TV.
Kyporenko-Domanskyj had a balanced, powerful voice with an extended range (up to high D). Critics compared his voice to those of
Angelo Masini, Tamagno and Ershov.
His repertory is said to have comprised 116 roles, which included:
Kudejar (Kudejar by Olenin),
Filimon (Melnik, koldun, obmanshchik i svat by Sokolovskij), Godun (Rozlom by Femelidi),
Maksim Berkut (Zolotyj obruch by B. Ljatoshynskyj),
Death (Ruf/Ruth by M. Ippolitov-Ivanov),
Zinovi (V plenu u jablon by O. Chyshko), Kucherenko (Shevchenko by V. Jorysh), Timosh (Chest by H. Zhukovskyj).
Knjaz Vjazemskij (Knjaz Serebrjanyj by P. Triodin),
Sobinin, Grigorij, Sadko, Levko, German, Neron, Orest,
Andrij (Zaporozhets za Dunajem),
Andrij (Taras Bulba), Petro,
Andrij Bezverkhyj (Kateryna by M. Arkas),
Khlopusha (Orlinyj bunt by A. Pashchenko),
Grigori (Tikhi don), Lenka (V burju),
Eléazar, Raoul, Cavaradossi, Canio,
Radames (he is said to have sung that role 600 times), Otello, Faust, José,
Prince (Rusalka), Golitsin, Andrei Khovansky, Gritsko, Vagoa, Akhior, Mikhaylo Tucha, Lykov, Vakula, Lensky, Vodemon, Otello
Andrei (Mazepa), Manrico, Rodolfo, Calaf, Vasco da Gama, Samson, Enzo, Vakula, Jean de
Leyde, Turiddu, Werther, Jontek, Lohengrin, Tannhäuser, Parsifal, Tristan, Melekhov, Matjushenko, Davydov,
Narko (Batrachka by M. Verykivskyj), ...
His partners included:
Z. Gajdaj, M. Gukova, M. Grishko, V. Damaev, N. Koshetz, M. Litvinenko-Volgemut, M. Maksakova, V. Petrov, V. Petrova-Ehvantseva, G.
Pirogov, M. Rejzen, N. Speranskij, P. Tsesevich, ...
The conductors he worked with included:
E. Cooper, A. Lazovskyj, I. Palitsyn. K. Saradzhev, S. Stolerman, V. Suk, ...
The producers he worked with included:
F. F. Komissarzhevskij, P. Olenin, A. Sanin, ...
Kyporenko-Domanskyj sang also in operettas, and gave concerts of Ukrainian songs.
In 1947, Kyporenko-Domanskyj started teaching singing and became a professor at the Kiev donservatory in 1952, among his students
was G. Stanislavova.
Some of Kyporenko-Domanskyj's recordings were included in the compilation The Golden Voice of Ukraine (1970).
His other recordings are kept at the State Museum for Music in Kiev. He recorded both in Russian and Ukrainian, I have listed
the recordings I know and identified the language thanks to Victor Roman:
Aida: Celeste Aida in Ukrainian
La Juive: Rachel quand du Seigneur in Russian
Otello: Dio mi potevi scagliar in Ukrainian
Otello: Ora e per sempre addio in Ukrainian
Otello: Ora e per sempre addio with orchestra in Ukrainian
Pikovaja dama: Chto nasha zhizn in Russian
Otello: Finale act 1 with Zoja Gajdaj in Ukrainian
Carmen: Finale with Larysa Rudenko in Ukrainian
Aida: Finale with Lilija Lobanova and Larysa Rudenko in Ukrainian
Reference