Shevchenko Prize: Signs of Recovery?

It seems that for the first time in many years the oldest Ukrainian award in the arts and culture does not give rise to any doubts. Indeed, the official Soviet past has been an weighty burden for the national prize giving rise to criticism. There were more than enough reasons for public controversy: awarding prizes to both the quick and the dead, lack of transparency in how the best authors or works are chosen, and not suspicions — not without foundation — of the clannishness of some decisions. However, the situation seems to have begun to improve. At least, this year’s decisions meet practically no objections: judging by responses of all kinds of media, the laureates mainly have high prestige. What is most comforting is that this year the committee did not go for quantity to broaden the list of national geniuses, but concentrated on a quality evaluation of the results of the nominees’ creative work.

The most talented conductor, head of the National Meritorious Academic Symphony Orchestra of Ukraine Volodymyr Syrenko has long ago deserved his award in the music category. Last season was a true success both for the orchestra and for its conductor: energetic concert activity, numerous premieres of the classic and modern Ukrainian composers’ works, a magnificent and irreproachably executed series of Gustav Mahler’s symphonies, and the world premiere of Valentyn Sylvestrov’s Requiem for Larisa.

Just as productive has been our opera singer Volodymyr Hryshko (in the photo), winner in Staging and Screen Arts category. He has long conquered the scenes of the biggest opera houses. This spring he has achieved a new milestone: at the New York Metropolitan Opera rehearsals of Prokofiev’s Gambler under the guidance of famous opera director Gergiyev are in full swing, with Hryshko playing the lead.

A philosopher and historian, Professor Myroslav Popovych, winner in the Scholarly Criticism and Non- Fiction Literature category has contributed to The Day more than once, was marked only this year if only by the reasons mentioned, since Popovych is not a desk-bound scholar but, speaking without exaggeration, a person who can be considered a moral authority for the nation. The same is true for the Fiction winner Yevhen Pashkovsky, whose novel Daily Scepter has for the last two years won true admiration of all connoisseurs of good prose.

Without doubt, the results of the recent National Shevchenko Prize will be examined and trigger discussions. However, one cannot help but note the comforting fact that the award is actually overcoming its past afflictions of bureaucracy and bias.