Oratorio Music Concert Filharmonia Narodowa

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Oratorio Music Concert
Tania Miller, photo: Todd Rosenberg

A twist of fate inextricably linked Karłowicz’s last, unfinished symphonic poem with his own tragic death in an avalanche at the foot of Mały Kościelec in 1909. It was the manuscript for Episode at a Masquerade that was found on the composer’s desk in his Lutnia villa in Zakopane shortly after the dramatic incident. The work was completed and orchestrated by Karłowicz’s close friend Grzegorz Fitelberg, a fervent advocate of the young composer’s outstanding talent. This composition, couched in the scheme of a sonata allegro, displays the composer’s wonderful musical imagination, mastery of development work and perfect deployment of a large orchestra.

Carl Orff’s cantata Carmina Burana, from 1936, is sometimes described as the most ‘overused’ work in the history of music. It is impossible to count the contexts (mainly in film and advertising) into which this exceptionally suggestive and characteristic composition has been woven. So how did Orff’s setting of poetry by thirteenth-century goliards come to be so inspiring and appealing? Well, the large performance apparatus, with a mighty chorus and expanded percussion, the archaicisms and motoric rhythms, as well as the texts, at times close in style to morality plays, laden with sarcastic, iconoclastic humour and eroticism that is far from subtle, have all contributed to the enduring success – unprecedented in the history of music – of Orff’s work.

Urszula Ciołkiewicz-Latek


Adam Kutny

As a soloist of the Staatsoper Unter den Linden in Berlin, Adam Kutny has earned acclaim for his performances in a diverse range of roles including Fiorillo in Il barbiere di Siviglia by Gioachino Rossini, Liberto/Lucano in L’incoronazione di Poppea by Claudio Monteverdi, Papageno in Die Zauberflöte by Wolfgang Amadeus Mozart, Marcello in La Boheme by Giacomo Puccini, Heerufer des Königs in Lohengrin by Richard Wagner, and Belcore in L’elisir d’amore by Gaetano Donizetti.

He also appeared in the role of Theseus in Jean-Philippe Rameau’s Hippolyte et Aricie with the Freiburger Barockorchester under direction of Sir Simon Rattle.

Concert appearances include Puccini’s Messa di Gloria with the Liverpool Philharmonic under Domingo Hindoyan, Béla Bartók’s Cantata profana and Ludwig van Beethoven’s Mass in C major with Radio Filharmonisch Orkest under the baton of Karina Canellakis, and recently Anton Bruckner’s Te Deum with Groot Omroepkoor and Radio Filharmonisch Orkest (cond. Vasily Petrenko).

In Poland, he debuted at the Teatr Wielki – Polish National Opera in Warsaw in Carmina burana production under Lorenzo Passerini (2019). At the Wrocław Opera he sung the Count Almaviva part in Mozart’s Le nozze di Figaro, at the Henryk Mikołaj Górecki Silesian Philharmonic in Katowice – the bass part in Karol Szymanowski’s Stabat Mater (cond. Jarosław Szemet), at the Warsaw Philharmonic and the Artur Rubinstein Łódź Phiharmonic – both Passions by Johann Sebastian Bach, Ludwig van Beethoven’s Symphony No. 9, Wojciech Kilar’s Symphony No. 4 “Sinfonia de motu” and William Walton’s Belshazzar's Feast.

Adam Kutny is a laureate of The Queen Sonja International Music Competition in Oslo, the special award “Mercedes Viñas” at the 53rd International Vocal Competition Francisco Vinas in Barcelona, and the Grand Prix at the Imrich Godin International Vocal Competition Iuventus Canti in Vráble, Slovakia, among others.