Oratorio Music Concert Filharmonia Narodowa

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Oratorio Music Concert
Ingrida Gápová, photo: Aciuro Studio

George Frideric Handel spent his whole life experimenting with various genres. Just when it seemed that a decline of interest in his operas would force the Saxonian into an early retirement, he enjoyed a resurgence in a genre that he reformed – nowadays known as the English oratorio. Here Handel relied on what the British have been famed for to this day – excellent choirs, some with a tradition stretching back for hundreds of years. In few of his works does the choral part play such an important role in terms of drama and illustration as in Israel in Egypt. Suffice it to mention that there are just a handful of numbers with solo parts here. Among the most attractive moments in this work are the grotesque, thrilling and at times utterly shocking musical tableaux of the famous Egyptian plagues. Hopping frogs are depicted by means of playful dotted rhythms. The intolerable buzzing of flies is imitated by rapid violin passages. The plague of hail begins with the gentle ‘precipitation’ of single notes, passing into an increasingly fast and elemental storm, full of ‘atmospheric discharges’ in the kettle drums. That violence abates for a while thanks to a fantastically depicted darkness – so dense that it was ‘palpable’, as specified in the libretto. The grand and shocking finale to the series of plagues is the extermination of the first-born sons, where a dramatic fugue resounds against chords that pulsate like fatal blows.

Bartłomiej Gembicki


Aneta Kapla-Marszałek

Aneta Kapla-Marszałek graduated from the Faculty of Vocal and Acting at the Fryderyk Chopin University of Music in Warsaw (the class of Eugenia Rozlach). She has performed in various student productions, including Opowieść o “Zemście Nietoperza” (A Story of Die Fledermaus) based on an operetta by Johann Strauss (2005), Wolfgang Amadeus Mozart’s Die Zauberflöte (2007), as well as at the Warsaw Chamber Opera in the role of Clarice in Baltassare Galuppi’s L’amante di tutte (2008).

In 2007, as part of the Socrates-Erasmus scholarship programme, she studied at the Conservatorio Statale di Musica “Francesco Venezze” in Rovigo (Italy) where she was taught by Elisabetta Andreani and Gabriella Munari. She honed her skills in vocal classes under the direction of Helena Łazarska, Jadwiga Rappé, Anna Radziejewska, Artur Stefanowicz, Ewa Iżykowska, Anna Maria Ferrante, Urszula Mitręga-Wagner, and Daniel Kotliński.

She has sung leading parts in many works by Stanisław Moniuszko, Wolfgang Amadeus Mozart, Johann Sebastian Bach, George Frideric Handel (La Resurrezione), Alberto Ginastera (Cantata para América Mágica) and Arnold Schönberg (Pierrot lunaire).

She appeared at the Moniuszko Podlasie Festival and the Warsaw Autumn International Festival of Contemporary Music in 2012 (Canti notturni by Beat Furrer). She performed with the Podlasie Opera and Philharmonic Orchestra under the direction of Marcin Nałęcz-Niesiołowski.

As a soloist, she has featured on recordings of works by Miłosz Bembinow: Res Tua. Deliberations of Love and Hate (DUX) and Letters. From Dusk till Dawn (Cavalli Records), as well as of two 18th-century Christmas masses by Amando Ivančić with the La Tempesta ensemble.

She is currently an artist with the Warsaw Philharmonic Choir, with which she has performed solo parts in works by Ferenc Liszt, Krzysztof Penderecki, Maciej Małecki, Pablo Sorozábal, Joseph Haydn, Carl Nielsen, and Johannes Brahms under the baton of such conductors as Niklas Willén, Krzysztof Penderecki, Christopher Hogwood, Antoni Wit, Valery Gergiev, Florian Helgath, and Joseph R. Olefirowicz.