Opera Academy Presents

PERFORMERS

Katarzyna Drelich, Justyna Khil, Teona Todua sopranos
Zuzanna Nalewajek, Dominika Stefańska mezzo-sopranos
Jakub Foltak countertenor
Mykhailo Kushlyk, Sebastian Mach tenors
Adrian Janus, Jan Kubas baritones
Grzegorz Pelutis bass-baritone
Klara Janus, Julia Kocjan, Joachim Kołpanowicz, Diana Ostrolutska, Natalia Pawlaszek pianists

Coaches and pianists:Izabella Kłosińska, Olga Pasiecznik, Katelan Trần Terrell, Michał Biel

PROGRAMME

GAETANO DONIZETTI

Norina and Ernesto's duet Tornami a dir che m’ami from Act 3 of Don Pasquale 
Katarzyna Drelich soprano
Sebastian Mach tenor
Joachim Kołpanowicz piano

Nemorino's aria Una furtiva lagrima from Act 2 of L'elisir d'amore
Mykhailo Kushlyk tenor
Joachim Kołpanowicz piano

WOLFGANG AMADEUS MOZART

Cherubino's aria Voi Che Sapete from Act 2 of The Marriage of Figaro
Zuzanna Nalewajek mezzo-soprano
Natalia Pawlaszek piano

Ascanio's aria Torna mio bene, ascolta from Act 2 of Ascanio in Alba
Jakub Foltak countertenor
Joachim Kołpanowicz piano

Donna Elvira's recitative and aria In quali eccessi... Mi tradì quell'alma ingrata from Act 2 of Don Giovanni
Justyna Khil soprano
Julia Kocjan piano

Leporello's aria Madamina, il catalogo è questo from Act 1 of Don Giovanni
Grzegorz Pelutis bass-baritone
Klara Janus piano

GAETANO DONIZETTI

Smeton's aria Deh ! Non voler costringere from Act 1 of Anna Bolena
Dominika Stefańska mezzo-soprano
Diana Ostrolutska piano

GIOACCHINO ROSSINI

Haly’s aria Le femmine d'Italia from The Italian Girl in Algiers
Jan Kubas baritone
Diana Ostrolutska piano

Ramiro's aria Sì, ritrovarla io giuro from Act 2 of Le Cenerentola
Sebastian Mach tenor
Julia Kocjan piano

INTERMISSION

GEORGE FRIDRIC HANDEL

Argante's aria Sibillar gli angui d'Aletto from Act 1 of Rinaldo
Adrian Janus baritone
Klara Janus piano

JOHANN SEBASTIAN BACH

Aria Et exsultavit spiritus meus from Magnificat in D major
Jakub Foltak countertenor
Joachim Kołpanowicz piano

KAROL SZYMANOWSKI

Daleko został cały świat Op. 2 to words by K. Przerwa-Tetmajer
Mykhailo Kushlyk tenor
Joachim Kołpanowicz piano

KONSTANTY GORSKI

Przyjście
Zuzanna Nalewajek mezzo-soprano
Natalia Pawlaszek piano

FRANCESCO CILEA

Adriana's aria Ecco...Io son l'umile ancella from Act 1 of Adriana Lecouvreur
Teona Todua soprano
Joachim Kołpanowicz piano

ROBERT ALDRIDGE

Sharon Falconer's aria Dear God, look into my heart from Act 2 of Elmer Gantry
Dominika Stefańska mezzo-soprano
Diana Ostrolutska piano

CHARLES GOUNOD

Julietta's aria Ah, je veux vivre from Act 1 of Roméo et Juliette
Katarzyna Drelich soprano
Klara Janus piano

PYOTR TCHAIKOVSKY

Onegin's aria Vy mne pisali...Kogda by zhizn... from Act 1 of Eugene Onegin
Adrian Janus baritone
Klara Janus piano

ALFREDO CATALANI

Wally's aria Ebben? Ne andrò lontana from Act 1 of La Wally
Justyna Khil soprano
Julia Kocjan piano

STANISŁAW MONIUSZKO

Stolnik's aria O, mościwi mi panowie from Act 1 of Halka
Grzegorz Pelutis bass
Klara Janus piano

Halka's recitative and aria O jakże bym klęczeć już chciała… Gdyby rannym słonkiem from Act 1 of Halka
Teona Todua soprano
Joachim Kołpanowicz piano

ROMAN MEDENTSI (РОМАН МЕДЕНЦІ)

Чи ми ще зійдемося знову (Chy my shche ziidemosia znovu) to words by Taras Shevchenko
Mykhailo Kushlyk tenor
Diana Ostrolutska piano

OPERA ACADEMY OF THE POLISH NATIONAL OPERA

A FUTURE-ORIENTED CAREER DEVELOPMENT PROGRAMME FOR YOUNG OPERA TALENTS

The programme has been in place at the Polish National Opera since 2011, offering exceptionally talented young singers and pianists opportunities for further development and training under excellent international teachers and opera artists: singers, stage directors, répétiteurs, and language coaches.

Regular teaching staff includes Izabella Kłosińska, Olga Pasichnyk, Eytan Pessen, and Matthias Rexroth. Visiting professors include Ewa Podleś, Anita Garanča, Jerzy Marchwiński, Dale Fundling, Andrzej Dobber, Dmitry Vdovin, David Pountney,  Brenda Hurley, Hedwig Fassbender, René Massis, Neil Shicoff, Sergei Leiferkus, Helmut Deutsch, Mariusz Kwiecień, Lech Napierała, and Tomasz Konieczny.

OPERA ACADEMY MEMBERS ARE OFFERED:

• regular workshops and masterclasses,
• individual singing, acting and language coaching sessions,
• ongoing professional support,
• international networking opportunities,
• chances to perform in Opera Academy concerts at the Polish National Opera and other venues in Poland and abroad
• chances to perform in Opera Academy productions (A Miracle, or Cracovians and Highlaners, About the Kingdom of Day and Night and Magic Instruments),
• opportunities to be cast in Polish National Opera’s shows. 

Thanks to the Polish National Opera’s membership in European Network of Opera Academies, or ENOA, an EU project bringing together thirteen culture institutions from ten countries, selected Opera Academy workshops are held under the Network’s auspices, while the Academy sponsors its members’ participation in workshops held by other ENOA institutions.

Former Academy members have enjoyed success on such European stages as the Teatr Wielki in Warsaw, Opernhaus Zürich, the Bolshoi in Moscow, Royal Opera House in London, Oper Frankfurt, Staatsoper Stuttgart,  Komische Oper Berlin, and Opéra National de Paris. 

Piotr Beczała can be likened to a Bugatti Chiron among supercars – the only one, unique, worth every penny. He seems to have performed everywhere that is worth aspiring to, with everyone who is worth working with, and he has sung – naturally – every role worthy of his talent. This time he will perform with the chorus of the Polish National Opera chorus. We can expect works from his latest albums. We do not vouch for Moniuszko, but Wager’s Lohengrin – certainly. And of courseVincerò. The title turned out prophetic, by the way: it brought our tenor the Erwin Piscator Award 2020 (for his work on Moniuszko’s and Karłowicz’s pieces), and that is in spite of the coronavirus pandemic. The award ceremony will take place in the late autumn. Soon after the honour is bestowed upon him in New York, a great concert awaits us in Warsaw. The insiders promise ‘verismo and late Wagner’. To facilitate reception, choreography is to be kept to a minimum.