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).

Moniuszko manor house in Ubiel, sketch by Napoleon Orda 

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.

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

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. 

In this brief recital before the opening gala at the Wielki, he cultivated a rare intimacy with the audience and seduced us with the salon charm of many of these rather minor but nonetheless beguiling salon works and song transcriptions for piano by Moniuszko. It was as if we were carried into another century of social refinement, taste and civilization - which was surely his intention.

He has recorded a CD of many of these works on the Chopin Institute label NIFCCD 113


Trifle in A major
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]

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

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. 

Tadeusz Kozłowski

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.

 I was immensely impressed with the strength, intonation  and resilience of the formidable voice of the tenor Rafał Bartmiński in that, again, famous Moniuszko aria from Halka, 'Szumią jodły na gór szczycie' (The soughing firs on top of the mountain). He expressed it as ardent but frustrated manly love, his voice imbued with regret rather than sentimentality. This is a beautiful song containing all the unique Slavic elements I spoke of above. It concerns the mournful and melancholy soughing of fir trees in the forest breezes, a allegorical mirror in sound imaging Jontek's unrequited love for Halka. 

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.

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.





·        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

·        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

·        THE GREAT THEATER AWARD - NATIONAL OPERA - invitation to take part in the performance - MARIA MOTOLYGINA


·        PUBLIC AWARD sponsored by the NATIONAL INSURANCE COMPANY for the finalist chosen by the audience to vote for the Competition - PIOTR BUSZEWSKI


·        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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