Petro Lopata

On April 26, 2001, Toronto composer Roman Hurko’s “requiem/panakhyda” premiered at St Michael’s Golden-domed Monastery in the Ukrainian capital, Kyiv. Exactly one year later, on the 16th anniversary of the Chornobyl accident, the requiem, which honours the victims of the world’s worst nuclear disaster, was broadcast before a small audience at the Ukrainian Canadian Art Foundation in Toronto.

With audience members holding candles, a moment of silence passed while each in his or her own way was allowed to reflect on the accident.

Later, Dr Yuri Scherbak, Ukraine’s Ambassador to Canada, explained that the aftermath of the disaster was not limited to the immediate effects like radioactive fallout, but that its consequences will mar Ukraine’s environment and people for years to come. He also railed against the “cynicism” of Western governments, who left behind a string of broken promises to help with the cleanup while the experts some on the payroll of the powerful atomic energy lobby diminish the disaster’s effects.

Scherbak, a medical doctor who wrote a documentary book on Chornobyl based on his conversations with the Chornobyl clean up workers, is no slouch on the subject. A former ambassador to the US, he even took part in a Chornobyl commemoration ceremony at the White House. Scherbak, a consummate diplomat, thanked the Ukrainian community in Canada for their assistance and support for victims of Chornobyl, most notably through the activities of the Children of Chornobyl Canadian Fund.

Michael N Wytiuk, President of this Toronto-based charity, was present to describe some of the organisation’s activities. Though it has broadened its scope to include working with orphanages and developing a school for handicapped children among others, the CCCF, since 1991, has provided nearly $14 million in aid to Ukraine. Proceeds form the sales of Roman Hurko’s CD “requiem/panakhyda” will help the organisation continue its efforts.

Hurko came to this project with an impressive set of credentials. He has collaborated with the likes of Placido Domingo, Dmitry Hvorostovsky, Andrea Bocelli and film directors Werner Herzog and Atom Egoyan. He composed scores for the Yara Arts Group an experimental New York-based theatre troupe headed by luminary Virlana Tkacz.

While watching the recording of the performance by the Frescoes of Kyiv Chamber Choir at St Michael’s, one can’t help but think that the vocalists, clerics, audience, and Hurko himself are just over 100 km removed from the site of the accident. The quickly-erected protective sarcophagus covering the reactor is already showing signs of structural instability, an image that contrasts sharply with the shimmering golden domes of St Michael’s, recently rebuilt after having been demolished by the Soviet authorities in 1936.

Roman Hurko remembers Chor-nobyl. His music will not let us forget.

For more information please visit

www.romanhurko.com