Oratorio Music Concert Filharmonia Narodowa

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Oratorio Music Concert
Andrzej Boreyko, photo: Michał Zagórny

Antonín Dvořák set about composing his Stabat Mater following the crushing death of his daughter, in 1875. He resumed work in the autumn of 1877, when cruel fate had again deprived him of two more children. The composer created what is perhaps the most elaborate setting of this Marian hymn in the whole musical literature. He forged its monumental character through the highly emphatic repeats of textual phrases and slow ‘cortège’ tempi that dominate the work. This is an extremely focussed, contemplative and tender composition. The impression of homogeneity is not diminished by the fact that the composer employs a great variety of means. He shows himself to be a splendid symphonist: the orchestral part in this oratorio is particularly important and masterfully treated. The twenty strophes were set in the form of ten (unsymmetrical) sections with solo and ensemble parts, combined in various ways with choral passages. This work was first performed on 23 December 1880 in Prague (cond. Adolf Čech), and two years later a performance in Brno was led by a young Leoš Janáček. Particularly successful proved to be performances of Stabat Mater at the Royal Albert Hall in London (Dvořák’s highly successful debut as a conductor abroad) and in Birmingham in 1884.

Piotr Maculewicz


Anna Lubańska

Anna Lubańska graduated with honours from the Fryderyk Chopin Academy of Music in Warsaw (currently known as the Fryderyk Chopin University of Music), where she studied in the class of Krystyna Szostek-Radkowa.

She is a winner of the Ada Sari International Vocal Artistry Competition, in which she was also awarded three special prizes. While still a student, she made her debut at the Teatr Wielki – Polish National Opera in Warsaw. She is now a permanent member of this institution, where she performs leading operatic roles and with which she has appeared at numerous prestigious festivals at home and abroad. Her vocal talent, temperament, acting gifts and varied repertoire make her one of Poland’s most versatile contemporary singers, being equally at home with dramatic parts as she is with those of a lighter character.

She collaborates on a regular basis with the Stanisław Moniuszko Grand Theatre in Poznań, the Krakow Opera and the Silesian Opera in Bytom. She is a highly regarded oratorio and cantata singer, having performed alto parts in the works of Hector Berlioz (Dramatic Symphony “Roméo et Juliette”), Giuseppe Verdi (Requiem), Ludwig van Beethoven (Missa solemnis and Symphony No. 9), Wojciech Kilar (Missa pro pace), Georg Friedrich Handel (Messiah), Johann Sebastian Bach (Magnificat, passions and cantatas), Karol Szymanowski (Symphony No. 3 “Song of the Night”) and Antonín Dvořák, as well as in works by Krzysztof Penderecki (e.g. Symphony No. 7 “Seven Gates of Jerusalem”).

The artist’s rich repertoire includes songs in German, French, Polish, Italian, Spanish, Czech, Russian, Yiddish, and English. She has performed in opera houses and concert halls in Japan, Norway, Germany, Great Britain, Belgium, France, Monaco, Hong Kong and others. She has collaborated with many outstanding soloists and conductors, including Jerzy Maksymiuk, Kazimierz Kord, Jacek Kaspszyk, Marc Minkowski, Plácido Domingo, Edita Gruberová, Stanisław Skrowaczewski, and Patrick Fournillier.

She has numerous recordings for radio and television as well as album recordings under her belt, including Stanisław Moniuszko’s The Haunted Manor (EMI) and Penderecki’s Ubu Rex (both with the ensembles of the Teatr Wielki – Polish National Opera under the baton of Jacek Kaspszyk). She is frequently invited to sit on the juries of vocal competitions.