Symphonic Concert - CANCELLED Filharmonia Narodowa

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Symphonic Concert - CANCELLED
fot. Thomas Grøndahl

We regret to inform you that due to the illness of the artists participating in the symphony concerts on 3 and 4 December, these concerts have been canceled.

Tickets purchased for cancelled concerts are refundable - at the Warsaw Philharmonic box offices or via the service, if you have made an online purchase. For more information, please contact



Bruckner’s gradual Locus iste, redolent of tranquillity and euphony, was heard for the first time in October 1869 during the consecration of the Votivkapelle – one of the first completed segments of the neo-Gothic New Cathedral in Linz. Although at that time, the composer had already entered the Viennese period of his career, he was more than happy to accept an invitation from the community that remembered and respected him.

According to many critics, it is in the Third Symphony that we see the emergence of the Bruckner we all know – the pioneer of a new idea of a monumental symphony, structured partly in line with the tradition of the genre, and yet at the same time treating it more extensively. Expanded thematic groups, developed as in an organ improvisation, strong contrasts, pathos, the monumentalism of groups of wind instruments – all these distinctive features were to return in subsequent symphonies, despite the fact that the reception of this one was at first disastrous. The premiere performance of the first version from 1873 was rejected after a few rehearsals, and the presentation of the 1877 version (several times revised) was an abject failure. There is also the third, main version, from 1890. The concert will reacquaint the audience with the original version of the piece.

In an interview with Mateusz Gliński (Music, 1926), Szymanowski described the origins of Stabat Mater as follows: “There were a great many reasons why I decided to write a religious piece – from my inner experiences right through to external life circumstances, which last winter forced me to put aside for a time all my other “lay works”, which I had already begun writing, and focus entirely on Stabat Mater”. These “external circumstances” included the tragic death of Szymanowski’s niece, which was a truly painful experience for him. However, the composer had already thought about writing a religious work based on folk motifs earlier. He turned to the text of the hymn Stabat Mater, inspired by, and delighted with, Józef Jankowski’s translation. In this way he composed one of his most perfect and deeply poignant works, which combines novel elements of the musical idiom with a very subtle archaization of, and allusions to, traditional music.


Ewa Wolak

An artist endowed with a voice of an unusually dark timbre, large scale, and agility, which allows her to perform a diverse repertoire – from early music, through Gioacchino Rossini, Giuseppe Verdi and Richard Wagner to contemporary music. Her repertoire includes leading parts in operas, oratorios and songs. A graduate of the Krzysztof Penderecki Academy of Music in Krakow (diploma with honorary mention), as a Deutscher Akademischer Austauschdienst scholarship holder she also completed postgraduate and opera studies at the Hochschule für Musik in Karlsruhe, graduating with distinction.

Ewa Wolak has won prizes at prestigious vocal competitions, in Athens (Grand Prix Maria Callas) and ’s-Hertogenbosch (Internationale Vocal Competition, the Netherlands) amongst others.

Her numerous opera parts include: Delilah (Saint-Saëns’ Samson and Delilah), eponymous part in Bizet’s Carmen, Fides (Meyerbeer’s The Prophet), Fricka and Erda (Wagner’s Der Ring des Nibelungen), Ulrika (Verdi’s Un ballo in maschera), Quickly (Verdi’s Falstaff), Olga (Tchaikovsky’s Eugene Onegin), Isabella (Rossini’s L’italiana in Algeri), and Ratmir (Glinka’s Ruslan and Lyudmila), as well as the leading parts in George Frideric Handel’s operas.

The artist has collaborated with Deutsche Oper and Komische Oper in Berlin, Nationaltheater Mannheim, Badisches Staatstheater Karlsruhe, the opera houses in Helsinki, Malmö, Montpellier, Toulouse and Trieste, as well as with Theater an der Wien.

She has participated in numerous festivals in Warsaw, Wrocław, Krakow, Vienna, Berlin, Paris, and other cities and has given concerts in Europe, Israel, South Korea, Japan and the United States, under the baton of such conductors as Antoni Wit, Marco Armiliato, Sir Simon Rattle, Donald Runnicles, Andris Nelson, Pier Giorgio Morandi, Philippe Herreweghe, Łukasz Borowicz, and Paul McCreesh, among others.

The artist has many CD recordings to her credit (for Naxos and DUX record labels).

She has been honoured with the European Culture Award for her artistic achievements and in 2011, she received the prestigious German opera title of Kammersängerin.

Since 2003, Ewa Wolak has run a singing class at the Krzysztof Penderecki Academy of Music in Krakow, and since 2016, she has been professor at the prestigious Hochschule für Musik Hanns Eisler in Berlin.