[3] After Daria’s mother, Genia, married her father, she joined him for a life on the stage, touring the cities, towns, and villages of Ukraine.

When Mia left for Paris in 1937, Daria returned to Lviv in late 1938, and for a time she studied with Prof. Buri, and ballet masters A. Falishevsky and V.

"[7] Daria's first onstage experience here was in the opera Aida by Giuseppe Verdi, not as a dancer but as a Nubian slave, holding a large papier-mâché palm leaf over the ruler.

[4] During her years as principal dancer, some of the operas that included ballets in which she danced were: La traviata by Giuseppe Verdi, Il Trovatore by Giuseppe Verdi, Carmen by Georges Bizet, Tosca by Giacomo Puccini, Madama Butterfly by Giacomo Puccini, I Pagliacci by Ruggero Leoncavallo, The Bartered Bride by Bedřich Smetana, and Faust by Charles Gounod.

Daria became the leading ballerina in ballets: Odette in Swan Lake by Pyotr Ilyich Tchaikovsky, Dulcinea in Don Quixote by Ludwig Minkus, Swanhilda in Coppélia by Léo Delibes, Taï-Choa in The Red Poppy by Reinhold Glière, Anitra in Peer Gynt by Edvard Grieg, and others.

On July 23, 1950, Daria participated in a concert with other Ukrainian artists newly arrived from Europe, as part of the Renaissance theater: I. Turkevich-Martynets, G. Manko, A. Stepniak, I. Fedyshin and L. Levyts'ka.

[10] In 1970, in Winnipeg at the Centennial Concert Hall, the premier of Stefania Turkewich's opera "Tsar Okh or Heart of Oksana" brought together the three who had worked together at the Lviv Theatre of Opera and Ballet: Stefania Turkewich who had served as a concertmaster, Irena Turkevycz-Martynec who had been a Prima donna, and Daria who had been a Prima Ballerina.

In this kind of creative work, she reveals the wide possibilities of folk dances, enriching and raising the Ukrainian choreographic art to a high level.