STANISŁAW MONIUSZKO - THE 200TH BIRTHDAY CELEBRATIONS OF and the opening of The 10th International Stanisław Moniuszko Vocal Competition , Warsaw
This year is the
200th anniversary of the birth of Stanisław Moniuszko (1819-1872), the greatest
operatic composer in nineteenth century Poland. There are musical celebrations
throughout country and the resuscitation of his long forgotten works in
performance. The seemingly impossible dream of the independence of the country
as a sovereign nation and accession to the European Union means that
at last what one might term the 'Cultural Iron Curtain' has been split apart to
reveal formerly unknown artistic treasures of
this valiant nation to the wider European continent. In no domain has this been more obvious than in
music, but also in art, architecture, theatre and literature. The Polish
language does present a difficult barrier in a way that English, French and Italian do
not in the West. This remark does not assume a forest of undiscovered composers
of genius, but certainly many of enormous talent and significant musical
gifts to augment the European musical canon.
The principal […] field of Mr Moniuszko’s activity as
a compose is dramatic music; his favourite genre is French opera, created by
Gluck, refined with Italian improvements by Méhul and Cherubini, later enriched
with the treasures of harmony and drama of the German opera, disseminated so
widely by Catel, Boiledieu, Auber, Hérold and Halévy, the sounds of the French
opera are heard today from the stages everywhere across Europe. Indeed, music
of this kind seems to be much more to our taste than the studied,
dreamy-philosophical German style: we are so fond of this gaiety, this
lightness that does not exclude the true drama, melodiousness, grace and
naïveté—the ingredients of the good French opera.
[Stanisław
Lachowicz, “Moniuszko,” Tygodnik
Petersburski 13 (1842), No. 80. Quoted from Grzegorz
Zieziula, From Bettly in French to Die Schweizerhütte in German: The Foreign-Language Operas of
Stanisław Moniuszko]
Stanisław Moniuszko was
born into a family of Polish landowners settled in Ubiel near Minsk in present
day Belarus and showed the customary precociousness of genius. He
studied composition and conducting with Carl Friedrich Rungenhagen in
Berlin in 1837 and later worked as an organist in Vilnius. He
traveled often to St. Petersburg where he met the great composers of
the day (Glinka, Balakirev, and Mussorgsky) and also Weimar where he met
Liszt and then Prague where he made the acquaintance of Smetana. His
first recently discovered (2015) comic opera in two acts composed in Berlin was
entitled Der Schweizerhütte (the
Swiss Cottage).
In 1848 he
visited Warsaw and met the writer, actor and director Jan Chęciński who became the
librettist of arguably Moniuszko’s greatest operas, Halka and Straszny Dwór (The Haunted Manor), both infused with the fertile theme of
Polish nationalism. Halka was
premiered with great success in Warsaw in 1858 (10 years after the concert
version performance in Vilnius!) and then later in Prague, Moscow and St.
Petersburg. Moniuszko became an oversight success in the manner of Lord Byron after
the publication of Childe Harold. He then began to concentrate on operas
that eschewed Polish themes.
For example Moniuszko for some time had been fascinated with the class system
in France as also the caste system in India as depicted in the
play Paria by Casimir Delavigne (1793-1843) which he had
translated from the French. He also desperately wanted an operatic success on
the stages of Paris, spurred on by the successful operas of Meyerbeer. He had
toyed with the idea of Paria for some ten years before it was
finally premiered in 1868. The Overture is a magnificent evocative piece of 19th century orchestral writing.
This exotic opera is set in the Indian city of Benares (now
Varanasi) on the sacred Ganges, perhaps the most
important religious city in India for ritual cleansing and bathing in
the waters of the river and the construction of ceremonial burial pyres for the
dead. It is the tragic story of an impossible love that cannot
overcome the deeply entrenched caste system of Untouchables and
Pariahs in India.
The significance of the exotic and culturally mysterious plot seems
to have been undervalued in Poland and elsewhere on the continent and the West since its
premiere. This ornate tale would not have been considered minor and
impossibly far-fetched in Great Britain under the hegemony of the
British Raj. The cruelty and dramatic consequences of love
struggling vainly against the caste system of Untouchables and Pariahs was
well understood by the English as a result of colonialism and later even
neo-colonialism in India. Many great works of English literary art continue to deal
with this fertile subject.
The English literary masterpiece, the novel A Passage to
India (1924) by E.M. Forster, deals precisely with
the idea of two characters who by their actions and behaviour become
pariahs within their own societies in colonial India, one in the English
colonial society and one in Indian caste-constructed society.
The Court was crowded and of course very hot, and the first person Adela noticed in it was the humblest of all who were present, a person who had no bearing officially upon the trial: the man who pulled the punkah [a hand-operated large Indian ceiling fan].
Almost naked, and splendidly formed, he sat on a raised platform near the back, in the middle of the central gangway, and he caught her attention as she came in, and he seemed to control the proceedings. He had the strength and beauty that sometimes come to flower in Indians of low birth. When that strange race nears the dust and is condemned as Untouchable, then nature remembers the physical perfection that she accomplished elsewhere, and throws out a god—not many, but one here and there, to prove to society how little its [caste] categories impress her. This man would have been notable anywhere: among the thin-hammed, flat-chested mediocrities of Chandrapore he stood out as divine, yet he was of the city, its garbage had nourished him, he would end on its rubbish heaps. Pulling the rope towards him, relaxing it rhythmically, sending swirls of air over others, receiving none himself, he seemed apart from human destinies, a male fate, a winnower of souls.
The superb masterpiece The Raj Quartet by Paul Scott towers above the rest for a profound understanding of British colonial India and the concept of the pariah. In 1984 the quartet was made into a magnificent television series called The Jewel in the Crown. If you want to understand the British in India this must be seen - such a series of this quality is no longer made.
Another more modern novel The God of Small Things (1997) by
Arundhati Roy, which was awarded the Man Booker Prize for Fiction in 1997,
deals in part with the still savage exclusions of casteism among other social
tensions in modern India.
Until at least
1989, this 'iron cultural curtain' effectively concealed the
existence of Stanisław Moniuszko and his operas for directors, producers
and audiences in the West. However I feel sure that more imaginative, fully
costumed, opulent staged production of his more obscure or forgotten operas (rather than concert performances) with fine soloists of
world renown would at least partially fulfil and validate all of Moniuszko's own
immense and deserved hopes for an international reputation. Italian arias dominate traditional opera and French arias follow closely behind which leaves those composers writing and setting libretti in less common languages with a distinct sense of inferiority. Moniuszko remains central to a
full understanding of Polish culture which is finally reaching its deserved place in the European world picture. He wrote 14 Operas, 11 Operettas, some 90 religious works in addition to over 300 songs, piano pieces, orchestral music and chamber music.
Perhaps now as a result of this fiercely competitive vocal competition (which is mounted every three years), this fine composer and his works will reach a wider more international audience.
Perhaps now as a result of this fiercely competitive vocal competition (which is mounted every three years), this fine composer and his works will reach a wider more international audience.
I was only able
to attend the opening Gala, Grand Finale and one session of the competition as
I was involved in filming. However I believe there is a true Renaissance in
Polish music taking place at present as the country celebrates 15 years of
European Union membership and a return to the European cultural fold. For me as
a 'foreigner' it has been a revelation of fine music never before heard. Naturally,
not all of them are 'undiscovered masterpieces', perhaps only a few, but many
are musically extremely eloquent and deserve comparison with works in the conventional
Western repertoire. We certainly need new fertilizing material in the
repetitive concert fare.
In the West the
Italian and French 19th century aria swept all before them but I am coming to
understand musically the different style, timbre, harmonic world and melodic
invention of the Polish sensibility, moulded as it is by military invasion,
cultural destruction, genocide and political domination. The lamenting nature
of death, loss, disinheritance, yearning and nostalgia is contained within so
many arias and songs by Moniuszko and others. Carl Jung would have referred to
this as the musical collective unconscious of the nation which is a challenge
for the Western melomanes to absorb fully and understand creatively, let alone
respond to emotionally, in any profoundly meaningful sense.
May 5th 2019, 17.00
Concert Studio of the Polish Radio
May 5th 2019, 17.00
Concert Studio of the Polish Radio
Piano works by Stanisław Moniuszko and transcriptions of the composer's songs
Cyprien Katsaris (piano)
"I must say with all conviction that Moniuszko's music is a real sensation! The value, diversity and richness of his musical invention should absolutely ensure his international recognition. And although he has left very few piano pieces, the quality of each of these pieces - only miniatures - is a wonderful repair: these are the real jewels".
Cyprien Katsaris
This special short recital was an absolute charming example of the pianistic art and embracing charisma of the French-Cypriot pianist and composer Cyprien Katsaris - a particular musical 'soul' in an authentic sense. In addition to being a fine soloist, he is a performer with most of the world's greatest orchestras and conductors, records with major labels and is a valued jury member for prestigious competitions.
He has recorded a CD of many of these works on the Chopin Institute label NIFCCD 113
Programme
Trifle in B flat major
Polonaise No. 23 in E flat major
Nocturne in A flat major
Villanella in D flat major
‘Daniel’ Polka in A major
Mazur in A minor from the opera The Haunted Manor
transcription: Stanisław Moniuszko
Zosia’s dumka from the opera The Raftsman
transcription: Władysław Krogulski [1843–1934]
Chant du Soir, Op. 64
transcription: Maurycy Dietrich [1816–1887]
Le Cosaque
Transcription-Fantaisie Le cosaque op. 123: Wilhelm Krüger [1820–1883]
Une Fleur
transcription: Bernhard Wolff [1835–1906]
The Spinner
transcription: Nicolai von Wilm [1834–1911]
Connais-tu le Pays?
transcription: Henryk Melcer-Szczawiński [1869–1928]
Dumka
paraphrase: Henryk Melcer-Szczawiński
Mazur in E flat major from the opera Halka
transcription: Stanisław Moniuszko
Fantasy on themes from the opera Halka, Op. 51
Józef Nowakowski [1800–1865]
Polonaise No. 23 in E flat major
Nocturne in A flat major
Villanella in D flat major
‘Daniel’ Polka in A major
Mazur in A minor from the opera The Haunted Manor
transcription: Stanisław Moniuszko
Zosia’s dumka from the opera The Raftsman
transcription: Władysław Krogulski [1843–1934]
Chant du Soir, Op. 64
transcription: Maurycy Dietrich [1816–1887]
Le Cosaque
Transcription-Fantaisie Le cosaque op. 123: Wilhelm Krüger [1820–1883]
Une Fleur
transcription: Bernhard Wolff [1835–1906]
The Spinner
transcription: Nicolai von Wilm [1834–1911]
Connais-tu le Pays?
transcription: Henryk Melcer-Szczawiński [1869–1928]
Dumka
paraphrase: Henryk Melcer-Szczawiński
Mazur in E flat major from the opera Halka
transcription: Stanisław Moniuszko
Fantasy on themes from the opera Halka, Op. 51
Józef Nowakowski [1800–1865]
May 5th 2019, 19.30
Polish National Opera
Theatre, Warsaw
Polish National Opera
Orchestra conducted by Tadeusz Kozłowski
THE OPENING GALA
THE 200TH BIRTHDAY CELEBRATIONS OF STANISŁAW MONIUSZKO
THE 200TH BIRTHDAY CELEBRATIONS OF STANISŁAW MONIUSZKO
and the opening of
The 10th International
Stanisław Moniuszko Vocal Competition
Photographs by Kinga Karparti
The great
theatre was packed to capacity for this combination of the 200th anniversary celebrations
of the birth of Stanisław Moniuszko, the father of Polish
opera, and opening of the 10th International Stanisław Moniuszko Vocal Competition. This
special concert featured prize-winners of previous editions of the competition.
I cannot
possibly review every artist and performance so unfortunately I shall need to be selective. As a
newcomer to much of this music by Moniuszko, I am really not in a position to
judge the interpretations but as these are all former prize-winners...I will not
have the temerity to be overly critical. The lack of English surtitles was a great
shame considering this Gala was available streamed online and televised to an
international audience. Moniuszko was always tremendously sensitive to his
musical settings of words.
The opening
was suitably festive with an energetic, idiomatic and tremendously spirited
performance of the Mazurka from Act I of Halka
by the Polish National Opera
Orchestra under Tadeusz Kozłowski. The music
in Halka is highly melodic, deeply lyrical and Polish in
character with fine dance sequences. Behind the singers and orchestra there
were some magnificent back-projections of mainly 17th century and Renaissance
renowned Polish scenes.
Łukasz Goliński |
The bass-baritone Łukasz
Goliński opened the soloist arias with a majestic, resonant performance of the Sword-bearer's aria Kto z mych dziewek (Who of my girls...) from Straszny dwór (The Haunted Manor). Despite the strength of this voice and the powerful presence of the singer, I was troubled by his variable intonation.
The soprano Ewa Tracz was deservedly popular with the
audience (wildly so) singing Hanna's recitative and the demanding aria 'Do grobu trwać w bezżennym stanie' (A
lament that she may die before getting married) from Act IV of the opera The Haunted Manor. Ewa Tracz is a highly
trained singer from the Accademia Teatro
alla Scala with a powerful voice of immense effortless range and expressive
passion.
Some of the singers had problems with intonation it seemed to me, but
the audience overlooked this in the celebratory context. The dynamically
excitable orchestra and conductor tended to swamp the singers on occasion.
Adam Palka |
I very much
enjoyed the masculine assurance, Polish pride and honour accumulated after
heroic battles inherent in the Moniuszko song (one of many hundreds he wrote
with affecting melodies) The Old Corporal
sung by the fine Polish Bass Adam Palka.
Jakub Józef Orliński |
The first half of the concert was
completed by the famous multitalented Polish counter-tenor Jakub Józef Orliński
expressively singing 'The Tear' (from
the Moniuszko opera Paria) and 'The Spinner'. He enjoys break dancing
and has won many prizes in dance competitions as well as being an acrobat. Orliński
won 2nd Prize at the last edition of this competition. He has a busy operatic
schedule ahead: in August he plays Eustazio in Rinaldo at Glyndebourne, then it's on to Zurich and Paris, New York
and Barcelona. I found his acting ability, charisma and enthusiasm for song, quite
apart from his affecting counter tenor voice, an explanation for his immense
popularity at present on the international stage.
The second
half of the Gala began with the lively, spirited, vigorous and uniquely Polish
national dances of the Highlanders of the High Tatra Mountains. An excellent
performance it seemed to me and enlivening in the extreme. A great shame there
were no highland dancers - the vast Wielki stage could have accommodated a few
in full costume to give us a strong visual clue to the animated nature of Act
III of the opera Halka. The back projections
of the Tatras and the Górale Highlanders in costume were picturesque and impressive. However I missed the real Górale dancing in costume.
The soprano Olga Busuioc, originally from Moldova and a multiple prize winner,
gave a tremendously passionate and committed performance of the famous Halka recitative and intensely poetic
and pantheistic aria Gdybym rannym słonkiem (If
by the Morning Sun). The audience
responded with abandoned clapping and cheering.
After this the soprano Joanna Zawartko sang with almost hysterical
passion the gruelling aria 'Ha! dzieciątko nam umiera' concerning the abandonment and death of the baby Halka had as a result of the advances
of her amoral aristocratic lover Janusz. She ultimately commits
suicide in this grim tale of jealousy and sacrifice.
Then there
followed a group of Moniuszko tuneful songs which set the poetry of the
immortal Polish poet Adam Mickiewicz. His series of twelve song books, Śpiewnik domowy (Songbook for Home Use), are notable for sheer number as well as quality.
We began with ‘Znasz-li ten kraj’ (Know Ye the Land) sung by South Korean tenor
Konu Kim. He sang a French translation of Adam Mickiewicz’s text with the
finest tenderness, sensitivity, nuance and nostalgia for a lost domain.
Urszula
Kryger sang the graceful song To the
River Niemen with a gliding, unforced naturalness and velvet warmth that
transformed it into a chamber work. It did not surprise me to learn her great strength
lies in song and chamber music and not grand opera.
The outstandingly expressive Polish bass-baritone Łukasz Goliński then sang the deeply reflective 'The Cossack', Moniuszko's eloquent setting of a poem by Jan Czeczot.
The outstandingly expressive Polish bass-baritone Łukasz Goliński then sang the deeply reflective 'The Cossack', Moniuszko's eloquent setting of a poem by Jan Czeczot.
Rafał
Bartmiński gave a vigorous and powerful rendition of a song by Moniuszko called
Krakowiaczek (The Little Krakowiak).
These songs and this music seem to inhabit a world of utterly different musical
sensibility to that of England, but I am beginning to enter it with the
greatest pleasure and musical rewards.
For the
conclusion of this Gala we moved back to The
Haunted Manor. The fine bass Adam Palka movingly sang Ten zegar stary (This old clock)
from Act III of the opera. The depth and richness of this voice and
unflustered intonation are most striking in a deeply satisfying artistic
performance. Such a pity there were not surtitles in English.
The South
Korean tenor Konu Kim then returned to sing in his resonant, tender yet
dramatic voice one of the most famous arias in Polish operatic literature from Straszny
dwór (The Haunted Manor), Cisza dokoła (Every corner of silence). This aria contains an
extraordinary stroke of genius, which has a chime embedded in it as a carefully
concealed subversive political statement concerning Sarmatian Poland - or so it
seems to me. Partitioned Poland at that time existed as a sovereign nation
state only in the minds of its citizens.
On 13 October
1865, the Gazeta Muzyczna i Teatralna
wrote "In the third act there is this famous chime, which pleased the
public. It is a polonaise closed only in eight bars, and written in an archaic
style, resembling at least [Michał] Oginski. " Another journal, the Dziennik Warszawski on 30 September 1865
commented "But the main advantage of this act [...] is Stefan's aria
with a chime. The very idea of combining several instruments, as: flute,
harp, piano and bell [also harmonium], to imitate the voice of an old-fashioned
chimes is a happy and original idea, all the more so as the beat of the clock
is repeated in the echo, made by string instruments . The same melody,
coming out of the clock, serves as a prelude to a beautiful aria.' Kim made
much of this great tenor aria in an impassioned and wrought delivery of
carefully graded nuance and drama. I thought this aria quite remarkable having
never heard anything resembling it in the Western canon. The timbre and texture
of his voice are ravishing. The audience went completely wild with cheering,
bravos and general approbation. Kim was visibly intensely moved by this
enthusiastic reception of his art. He's currently playing Maintop in Billy Budd at the Royal Opera. Incidentally
in July he will appear at Covent Garden in the role of Tonio in La Fille du
Régiment, Donizetti’s greatest work.
A charming
almost 'salon' duet then from the opera Już
ogień płonie (The fire is already burning) with Agata Schmidt and Ewa Tracz.
Then to conclude on a joyful and energetic note, the Mazurka from Act IV of the
opera.
A long standing ovation and wild enthusiastic scenes from the capacity audience at the Great Theatre, Polish National Opera in Warsaw, concluded the evening. Such an
enjoyable and educational evening for me!
My review of the Final Gala will appear here soon....
The Competition
I STAGE with piano accompaniment:
A. opera aria from the world repertoire of the
eighteenth or nineteenth century
XVIII century:
Gluck, Händel, Mozart, Purcell, Vivaldi
XIX century:
Auberge, Bellini, Beethoven, Berlioz, Bizet, Boito, Borodin, Catalani,
Cherubini, Cilea *, Tchaikovsky, Delibes, Donizetti, Dvořák, Giordano, Glinka,
Gounod, Korngold *, Leoncavallo *, Rimski-Korsakov *, Massenet *, Mercadante ,
Meyerbeer, Musorgski, Nicolai, Offenbach, Ponchielli, Puccini *, Rachmaninoff
*, Rossini, Saint-Saëns, Smetana, R. Strauss *, Thomas, Verdi, Wagner, Weber,
Zandonai *.
* also works created after 1900.
B. Polish song from the 19th or 20th century (in
Polish or in translation)
Baird, Bacewicz, Chopin, Czyż, Friemann, Gablenz, Gall, J. Karłowicz, M.
Karłowicz, Kisielewski, Laks, Lefeld, J. Maklakiewicz, T. Maklakiewicz,
Moniuszko, Mykietyn, Niewiadomski, Noskowski, Nowowiejski, Paderewski, Pałłasz,
Szeligowski, Szymanowski, Weinberg, and Żeleński.
II STAGE with piano accompaniment:
A. opera aria from the eighteenth or nineteenth
century, other than in the first stage
XVIII century:
Gluck, Händel, Mozart,
Purcell, Vivaldi
XIX century:
Auberge, Bellini,
Beethoven, Berlioz, Bizet, Boito, Borodin, Catalani, Cherubini, Cilea *,
Tchaikovsky, Delibes, Donizetti, Dvořák, Giordano, Glinka, Gounod, Korngold *,
Leoncavallo *, Rimski-Korsakov *, Massenet *, Mercadante , Meyerbeer,
Moniuszko, Musorgski, Nicolai, Offenbach, Ponchielli, Puccini *, Rachmaninoff
*, Rossini, Saint-Saëns, Smetana, R. Strauss *, Thomas, Verdi, Wagner, Weber,
Zandonai *, Żeleński *
* also works created
after 1900.
B. opera aria from the 19th or 20th century
XIX century:
Auberge, Bellini,
Beethoven, Berlioz, Bizet, Boito, Borodin, Catalani, Cherubini, Cilea *,
Tchaikovsky, Delibes, Donizetti, Dvořák, Giordano, Glinka, Gounod, Korngold *,
Leoncavallo *, Rimski-Korsakov *, Massenet *, Mercadante , Meyerbeer,
Moniuszko, Musorgski, Nicolai, Offenbach, Ponchielli, Puccini *, Rachmaninoff
*, Rossini, Saint-Saëns, Smetana, R. Strauss *, Thomas, Verdi, Wagner, Weber,
Zandonai *, Żeleński *
* also works created
after 1900.
XX century:
Barber, Bartók, Berg,
Bernstein, Britten, Dankevych, Hindemith, Janáček, Martinů, Menotti, Nowowiejski,
Paderewski, Penderecki, Poulenc, Prokofiev, Ravel, Stravinsky, Shostakovich,
Szymanowski, and Weinberg.
C. a song from the 19th or 20th century world
repertoire
Barber, Bartók,
Beethoven, Bellini, Berg, Berlioz, Bernstein, Borodin, Brahms, Britten, Canteloube,
Chabrier, Chausson, Copland, Cui, Tchaikovsky, Debussy, Delibes, Donizetti,
Duparc, Dvořák, de Falla, Fauré, Finzi, Franck , Glinka, Gounod, Granados,
Grieg, Hahn, Hindemith, Honegger, Janáček, Kabalewski, Kodaly, Korngold,
Křenek, Liszt, Loewe, Mahler, Martinů, Massenet, Mendelssohn-Bartholdy,
Menotti, Milhaud, Musorgski, Poulenc, Prokofiev, Rachmaninov , Ravel, Rossini,
Rimsky-Korsakov, Saint-Saëns, Smetana, Schönberg, Schubert, Schumann, Sibelius,
R. Strauss, Stravinsky, Swiridov, Shostakovich, Vaughan Williams, Verdi,
Wagner, Webern, Weinberg, Wolf, Zemlinsky.
III STAGE (FINAL) with orchestral
accompaniment:
A. Polish opera or
oratory opera; Stanisław Moniuszko's opera, oratorio or operetta aria
(sung in Polish or in translation)
Moniuszko, Nowowiejski,
Paderewski, Penderecki, Szymanowski, and Żeleński.
B. opera aria from the world repertoire, different
from previous stages
XVIII century:
Gluck, Händel, Mozart,
Purcell, Vivaldi
XIX century:
Auberge, Bellini,
Beethoven, Berlioz, Bizet, Boito, Borodin, Catalani, Cherubini, Cilea *,
Tchaikovsky, Delibes, Donizetti, Dvořák, Giordano, Glinka, Gounod, Korngold *,
Leoncavallo *, Rimski-Korsakov *, Massenet *, Mercadante , Meyerbeer,
Musorgski, Nicolai, Offenbach, Ponchielli, Puccini *, Rachmaninoff *, Rossini,
Saint-Saëns, Smetana, R. Strauss *, Thomas, Verdi, Wagner, Weber, Zandonai *.
* also works created
after 1900.
XX century:
Barber, Bartók, Berg,
Bernstein, Britten, Dankevych, Hindemith, Janáček, Martinů, Menotti, Poulenc,
Prokofiev, Ravel, Stravinsky, Shostakovich, Weinberg.
JURY
PARTICIPANTS
PIANISTS
AWARDS
·
1st prize - MARIA MOTOLYGINA
·
Second Award - SLÁVKÁ ZAMEČNÍKOVÁ
·
III Prize - LONG LONG
·
4th prize - RUSLANA KOVAL
·
V Award - GIHOON KIM
·
The 6th Prize - PIOTR BUSZEWSKI
·
THE IM AWARD MARII FOŁTYN for the best performance of Stanisław
Moniuszko's piece - LONG LONG
·
Award for the best performance of Mieczysław Weinberg's song - JAN
ZĄDŁO
·
Award for the best pianist (born no earlier than May 6, 1984) - ALEKSANDER
CHODACKI, RADOSŁAW ZAWORSKI
AWARDS OF KOŚCIUSZKOWSKA
FOUNDATION (USA) FUNDED BY MRS ANN COX ZAGOREOS :
·
The prize Carlo Maria Giulini granted separately in the category of female and
male voices - MARIA OSTROUKHOVA, LUIS QUIROS
·
The prize Jan and Edward Reszków for the best performance of a Polish piece by a
foreign participant - YAJIE ZHANG
·
The prize Marta Eggerth and Jan Kiepura for the most promising Polish
voice - MONIKA BUCZKOWSKA
OTHER AWARDS:
·
THE GREAT THEATER AWARD - NATIONAL OPERA - invitation to take part in the
performance - MARIA MOTOLYGINA
·
THE POLISH PIOTION AWARD - PIOTR BUSZEWSKI
·
PUBLIC AWARD sponsored by the NATIONAL INSURANCE COMPANY for
the finalist chosen by the audience to vote for the Competition - PIOTR
BUSZEWSKI
·
THE AWARD OF POLISH MUSIC PUBBISHING FOR THE MOST GREATEST EXERCISE OF A
POLISH TOM OF THE XX / XXI Century - ALINA ADAMSKI
·
THE IM AWARD MARCELLI SEMBRICH-KOCHAŃSKA for the youngest finalist,
funded by the
Association. Marcelli Sembrich (USA) - CODY QUATTLEBAUM
·
THE IM AWARD BOGUSŁAW KACZYŃSKI for the best Polish voice, funded by the
Fundacja im. Bogusław Kaczyński ORFEO - PIOTR BUSZEWSKI
·
THE POLISH RADIO AWARD : invitation to record with the Polish Radio
Orchestra - LONG LONG
·
AWARD OF THE SOCIETY OF THE LOVERS OF THE OPERA AND BALLET AT THE GREAT
THEATER - NATIONAL OPERATOR for the best singer from among the participants of the second
stage, unqualified for the final of the Competition - YURIY HADZETSKYY
·
SINFONIA VARSOVIA ORCHESTRA AWARD : invitation for the selected finalist to
participate in the concert as part of musical events organized by the
band - LONG LONG
·
THE ASSOCIATION AWARD OF IM. LUDWIGA VAN BEETHOVEN AND THE EASTER
LUDWIG VAN BEETHOVEN FESTIVAL : invitation to participate in the 24th Ludwig
van Beethoven Easter Festival (29 / 03-12 / 04.2020)- PIOTR BUSZEWSKI,
CODY QUATTLEBAUM
·
PIOTR BECZAŁY AWARD for the best interpretation of Stanisław Moniuszko's aria:
invitation to participate in the concert with the artist - LONG LONG
·
AWARD OF THE POLISH SINFONIA IUVENTUS ORCHESTRA IM. JERZY SEMKOWA : concert with Sinfonia
Iuventus in the artistic season 2019 /2020-PIOTR BUSZEWSKI
·
TWO AWARDS AT THE CASTLE IN SZCZECIN in the category of female and male voices:
invitations to participate in the International Opera Gala at the end of the
Moniuszko Inspiration Festival! - ZLATA KHERSHBERG, ALEKSANDRA
NOWAKOWSKI, MATHEUS POMPEU
·
MOSCOW SUMMER OPERA FESTIVAL AWARD "NEW OPERA WORLD 2019" : invitation to participate in
the Festival - PAWEŁ TROJAK
·
PRIZE OF THE GREAT THEATER IN POZNAN: invitation to take part in the spectacle The
Haunted Manor of Stanisław Moniuszko as part of the international European
Opera Directing Prize competition - GIHOON KIM
·
AWARD OF THE POLISH MUSIC FESTIVAL : invitation in the category of female and male
voices - recital as part of the Festival of Polish Music in Krakow - SLÁVKÁ
ZAMEČNÍKOVÁ, VLADISLAV BUYALSKIY
·
PRIZE OF THE SYMFONIC ORCHESTRA IM. KAROLA NAMYSŁOWSKI IN ZAMOSC : invitation to perform with
the Symphony Orchestra Karol Namysłowski - MONIKA BUCZKOWSKA,
PIOTR BUSZEWSKI
·
AWARD OF THE PODKARPACK PHILHARMONIC IM. ARTURA MALAWSKIEGO IN
RZESZÓW :
invitation to participate in an open-air concert on May 24, 2019 in the castle
courtyard in Krasiczyn - HUBERT ZAPIÓR
·
TWO AWARDS OF THE KHAZALIŃ PHILHARMONIC IM. STANISŁAWA MONIUSZKI in the category of female and
male voices for the best Polish voice: invitation to participate in a concert
with the Koszalin Philharmonic Orchestra in the artistic season 2019/20 -
MONIKA BUCZKOWSKA, PIOTR BUSZEWSKI
·
KRAKOW CHAMPIONSHIP AWARD: invitation to participate in the performance at
the Krakow Chamber Opera - MONIKA BUCZKOWSKA
·
SPECIAL PRIZE OF "PRESTO" MAGAZINE: one year media care -
HUBERT ZAPIÓR
·
AWARD OF THE SOCIETY OF MUSICIANS OF MONIUSZKA MUSIC for the best performance of
the work of Stanisław Moniuszko: statuette by Marian Konieczny - LONG
LONG
THE GREAT THEATER AWARD - NATIONAL OPERA for the most promising participant who did not enter the final - STEFAN ASTAKHOV
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