In November, we had the pleasure of participating in two spectacles: in the previously described tragedy Romeo & Juliet by Vincenzo Bellini and in the most recently presented Don Pasquale. Both operas, despite their differing content, come from the same time period—the beginning of the 19th century, when the style of bel canto first appeared in European music. It did not last long, subsequently replaced by a new type of creative movement called verismo. In music, as in literature, artistic tastes change constantly. That which is new is undertaken by writers, composers, and representatives of other branches of the arts, and the public most often accepted these changes.

Bel canto, which literally means “beautiful singing,” focused first and foremost on the melodic aspect of music. It appeared in Italy in the years 1830-1840 and was mirrored by romanticism in literature. It introduced short dance-like rhythms into the world of opera, which shifted in accordance with the plot, in turn dramatic or lyrical. It also allowed for a certain freedom on the part of the singers, even venturing into improvisation, which had not always been accepted by composers.
Let us then return to the production of DonPasquale. This opera is a comedy, and despite the fact that the plot bears nothing particularly original, it is nevertheless lively, simple, clear, and engaging. This aids in achieving the ideal balance of word and music. Indeed, Don Pasquale is one of Donizetti’s finest works. It was written towards the end of the composer’s life, as the last work of an experienced master who had produced already some fifty operas. It is regarded as a gem of grace and carefree humor. Artist and audience alike succumb to its charming joyfulness to such an extent that it is difficult to believe that Donizetti wrote the work in a mere eleven days.

Don Pasquale enchants us with typically Italian music combined with a French finesse. Opera Circle’s presentation of this charming musical narrative featured Ray Liddle in the title role, tricked by three others in cahoots; Timothy Culver as his nephew Ernesto; James Love as the chief instigator of antics, Dr. Malatesta; and Dorota Sobieska as Norina, the object of both Pasquale’s and Ernesto’s matrimonial ambitions. The singers were accompanied by the Cleveland Women’s Orchestra under the direction of Robert L. Cronquist.

The audience, meanwhile, listened enthralled, and upon leaving, hoped for more such months as November of 2009, in which Opera Circle presented two premieres. We extend a special gesture of appreciation to directors Dorota and Jacek Sobieski, as well as to Wanda, Aleksandra, and Julian Sobieski, who also took part in the performances.

Elżbieta Ulanowska
Translated by Wanda Sobieski

Forum, 1/2010

Bellini’s style stands out through a remarkable sense of melody, and the works which he created are full of nuances that heighten the power of expression.

Opera Circle took great care in preparing this version of Romeo and Juliet, originally entitled I Capuleti e i Montecchi in the Italian, bringing in conductor Andrea Raffanini from Italy with the sole purpose of leading this production. A renowned Bellini specialist, he came from the city of Milan, famous for its operatic tradition: many talented composers, singers, and conductors hail from Italian cities, and to this day La Scala in Milan is considered the operatic capitol of the world.

The forty-person orchestra, organized by Wanda Sobieska, sounded excellent, marked in particular by notable solos for cello and clarinet. Maestro Raffanini, full of vigor and understanding for the music of Bellini, was a fantastic leader for the ensemble.

Likewise, the soloists and chorus delighted the audience. The “silver soprano,” as Donald Rosenberg termed it in his Plain Dealer review, of Dorota Sobieska  (Juliet) melded in perfect harmony with the mezzo-soprano of Emily Righter (Romeo), who came from Pennsylvania, having great of the role, as she had previously performed it at another opera theater. Not only did this young and charming woman sing well, but she was also a terrific actor, assuming the guise of the romantic, boyish Romeo. The remaining soloists—David Sadlier, Ray Liddle, and Allan Mosher—completed the stellar cast of this memorable production.

It is truly difficult to overestimate the value of the work carried out by Jacek Sobieski and Dorota Sobieska for the lovers of opera in Cleveland. They enable us to experience core works of the repertoire that are rarely presented by other organizations nationwide. The ambitious realization of this intelligent choice of repertoire is the greatest strength of the group and brings great joy to its audience.

Elzbieta Ulanowska
Translated by Wanda Sobieski

Forum, 12/2009

My preference would be to share a brief commentary along with a colorful DVD, since it is truly impossible to express in words the entire artistic aura created by the sets, the costumes, the soloists, the choir, and, of course, the music as performed by the orchestra.

Donizetti’s Linda di Chamounix is not a frequently staged opera. It was seen at the Metropolitan but in 1934 & 1935, while Elixir of Love, Lucia di Lamermoor, and Daughter of the Regiment enjoy far wider popularity, the latter two in the current season at the Met.

It’s a good thing we had the opportunity to meet, perhaps the one and only time, Linda in all of her drama and joy, as well as many others from her world: her beloved Carlo, her parents, the peasant minstrel – her faithful friend, the priest Prefetto, and the landowner Marquis. This opera was not intended for a prima donna. The role of Carlo, for instance, is just as significant, if not more. However, the work does demand an exceptional cast of strong and beautiful voices among the numerous soloists. The dramatic plots interweave with moments of humor, and the very ending is ultimately a happy one; the story, therefore, is neither a tragedy nor a comedy but a typical semiseria.

The type of music is the Italian bel-canto, characteristic of the early 19th century. Gaetano Donizetti (1797 – 1848) composed over seventy operas, many of which are today completely forgotten. The ones that do get staged absolutely prove his mastery of the bel-canto style. He created works full of fine feel for scenic effect, with deep expression and wonderful melodic ideas. The years of his great creative triumph fall between 1830 and 1843, a period during which he composed several operas a year. His output also contains chamber and symphonic works as well as church music. He was famous and enjoyed the respect of his peers. He chose to set librettos with a staple romantic theme, dominated by a love so passionate that if the couple could not be joined in marriage, they would die of suicide or fall into insanity, as happened with Linda.

Alongside this great love we discover in the opera yet another theme, one always contemporary, nearly universal: the phenomenon of a people moving on in search of a better life. The youth of the village in the Alps goes off to Paris, accompanied by the sung addio, or farewell: a premonition of the separation and concern for the immediate future.

As I mentioned earlier, Linda di Chamounix demands exceptional voices. Opera Circle chose soloists not only technically suited to the challenge but also reflecting their roles in terms of personality. As Linda, Dorota Sobieska enchanted the audience with her lyric coloratura voice and charm of a young girl. The role of the infatuated Carlo was portrayed by Marc Schapman, an expressive tenor. I cannot remark upon him nor his friend Cody Medina, a bass-baritone from Indiana University, without a certain personal engagement. These two fine and intelligent artists cordially spent time, after rehearsals and performances, on watching and listening to Stanislaw Moniuszko’s Halka as recorded by the National Theater of Warsaw as well as Verbum nobile, presented by Opera Circle.

Mezzo-sopranos Laura Avdey, Linda’s mother, and Amy Scheetz, Pierotto, likewise displayed great ability. The ballads sung by Amy were movingly beautiful. Ray Liddle, as in many a previous opera, was the baritone father of Dorota, grounds enough for him to adopt her. The most amusing character was bass-baritone Peter Bush in the role of the Marchese, an elderly gentleman with his sights set on young Linda, yielding a plethora of comic attempts.

The remaining cast was that of six supporting roles, also appointed with great care. The soloists were accompanied by a chorus of thirty and full orchestra of forty musicians. Preparations for the production took place in various locations. The cast and chorus did not have many rehearsals with the orchestra, yet it was possible to join all this into miraculous and harmonious whole.

The performance was often interrupted by cheers and applause from the delighted audience, who expressed in this way their appreciation of the performance.

The opera was performed three times: at Kent State University Stark Campus and twice at the Alliance of Poles Auditorium in Cleveland.

Dr. Elżbieta Ulanowska
Translated by Wanda Sobieska

Forum, 4/2007

Months later I was impressed again when I attended the grand opening of the Center’s Heritage museum, something all of Cleveland should be proud of. The energy of that event, and the enthusiasm of everyone involved convinced me to make another phone call to the Center for the sake of my next visiting Polish artist, Anna Konik. After members of the Center so graciously showed Anna around Slavic Village, she called me the next day demanding that I eat more Polish food and spend some time with these great people. Anna’s new friends visited us at SPACES for her public lecture, and then again for the opening of her exhibition, a video project about homelessness.

When the Cleveland International Film Festival came around in March of the following year, SPACES and the Center decided to collaborate: After the showing of My Nikifor, we held a reception and discussion in the gallery. This event took place during ArtMart, the annual members’ show and sale at SPACES, where anyone can become a member and exhibit and sell their art in the gallery for one week. I am proud that at least one member from the Center was one of the ArtMart artists. That night, a few of us were inspired to organize a community art exhibition and sale at the Center. Art at the Center was a huge success, and continued the process of cultural exchange and partnership between the arts community and the Polish community in Cleveland

These collaborations continue this month with the upcoming Polish films at the Cleveland International Film Festival, followed by a reception at SPACES. ArtMart 2007 will have just opened in the gallery, providing visitors with a look at the diverse array of artists who contribute to the local arts community. In May and June, with the support of the Ohio Arts Council (which also supported Roman and Anna’s residencies), we welcome Polish artist Malgorzata Markiewicz to Cleveland for six weeks. Anna Konik’s friends from the Center have offered to help SPACES host Malgorzata. This kind of partnership is what helps make the SPACES World Artists Program successful.

As funding is being sought to renovate the rooms below the Polish Heritage Museum for a contemporary art gallery in the Center, I’ve started to dream about what our partnership will mean in the future. I hope that together we will find and select Polish artists to bring here, that we will give them the freedom, time, space, and support they need to create new art, and that by working together, we will all learn about each other’s cultures, and be the better for it.
For more information about SPACES and its international residency program, please visit www.spacegallery.org.

Sarah Beiderman

Forum, 3/2007

We were fortunate to have been visited by Mrs. Grant in the Cleveland Polish American Cultural Center on January 5, to hear her speak about Adam Grant and view his work in a slide show presentation.

Talented people, we tend to believe, are somehow unapproachable, living in a rarified atmosphere of excellence, above the rest of us of average intelligence and ability.  Talent however does not discriminate and elevate those who have it while discrediting those who simply admire it.  Those who create that which is enjoyed by many are like the rest of us in many ways.   They are perhaps more perceptive to the beauty and the chaos of our world, which can cause them to be more temperamental and sensitive to hurts and reversals, more susceptible to addictions.  But they love just we do, suffer, as we do, fail and triumph like the rest of us.  When we admire a painting, we grow nearer to the artist, desiring to know their mind and heart, to understand their creation within the context of time and place and to understand what they intended to tell the world.  We wonder who was this person. How did he behave publicly? What were his private family life and relationships like?

Peggy Grant, the widow of the well known artist Adam Grant, speaks lovingly of her husband, tears of joy welling in her eyes when she describes his quiet, peaceful nature. “He had a wonderful spirit and was very emotional, sensitive and gentle.  He absolutely never raised his voice!  He was happiest when he could be alone in the house, surrounded by silence. Then he would paint.  That is when he felt best and the most relaxed.  Everything he painted came from the heart.  He truly admired the beautiful female form and feminine nature very much, thus the main subject of most of his paintings.”  She adds dreamily “He was my first and my only love”.

Adam Grant was born in 1924 in Warsaw and died in Toledo, Ohio in 1992.  He was one of the most admired and respected painters of the American midwest.   His works are exhibited in museums, galleries and private collections.  “Painting was his passion and his life’s calling” says his wife Peggy.

Adam Grant’s lifetime spanned one of the cruelest and most difficult periods of human history.   He survived the nightmare of concentration camps during WWII—Auschwitz and Mauthausen.  Later he faced hardship in refugee camps until he was able to emigrate to another country.  He never gave up on his art during this difficult period, making it his refuge and hope, a means of surviving against almost insurmountable challenges.  Surviving the horror of the Holocaust, this talented Pole rescued his spirit and preserved his artistic vision, talent and hopes to share it with the world.

“I love you my preety girl” he whispered to his wife with his last breath at the end of his life.  Peggy Grant now dedicates her life to tell as many as she can about him “whose creation is worth much more than the admiration of critics, or spaces in museums and galleries.  His life’s work is worthy of note because of the very special person that Adam Grant was.”

Agata Foremska
Translated by Zofia Wisniewski

Forum, 1/2007

Konrad Binienda (17), a senior at Firestone High School in Akron, appeared as a soloist with the Akron Symphony in the world premiere of his own composition Piano Concerto in e-minor.  When asked before the performance what was his inspiration for writing this concerto, he replied that he began working on this composition just after the departure of John Paul II.  The death of “the Polish national hero,” as he put it, inspired him to write this very beautiful music.  I am writing “beautiful” because this is the only word that comes to mind as appropriate to describe my experience. In this music I heard Zygmunt tolls from Wawel Hills, birds singing over Polish meadows, and all my nostalgia for Poland, albeit I would never be able to paint it with sound like Konrad painted it.  A more experienced ear could easily discern Chopin’s motives woven into the structure of the concerto.  Konrad himself remarked that Chopin has been his icon.

I am led to believe that Konrad’s Concerto made as big of an impression on me as on the rest of the audience.  The big concert hall was full that day. Konrad’s Piano Concerto, one of four works presented during this concert, received long and thunderous standing ovation.

It is not my intention to write about the achievements and biography of this young, very promising musician. Someone with more experience in this field would be more appropriate. I just would like to share my opinion with the Polonia in Cleveland that we will be hearing about this young artist who is emerging before our eyes.

If you see his name in the program – I recommend not thinking twice but going to the concert.  Konrad’s next performance will be at the Matinee Concert on Valentine’s Day at Severance Hall.  He will appear as a soloist with the Cleveland Orchestra in the first movement of Chopin’s Piano Concerto in e-minor, opus 11. The concert will also feature works by Glinka, Copland, and Dvorak.

Dorota Mrochem Tomaszewska

Abakanowicz (born June 20, 1930) is one of the most well-known Polish artists throughout the world. For many years, she was one of the main „exports” of Polish culture, representing the country officially on the world stage; she was one of the most often cited artists in promotional materials for Polish art.

Abakanowicz specializes in creating large, figurative, spacial compositions using fabric, stone, wood, and bronze; her compositions have become known as „abakans” from her name. She is a professor at the Academy of Fine Arts in Poznań, where she taught classes from 1965 to 1990. Silhouettes of human figures standing in a certain order are a frequent feature of her work. One example is „Nierozpoznani” (The Unrecognized), permanently installed at the Citadel in Poznań. The Chicago Project “Agora” is similar.

The reasons for interest in this project are several. I admit that I am not an art critic, and I have no such ambitions, but Abakanowicz’s originality and strength, and wise choice of location, are to be admired. Of the many works I could mention, two stand out: „Katarsis” in Italy and „Cor-Ten Armour No. 1”, beautifully located in the exterior gallery of the Marlborough in Zurich. The Chicago „Agora” has already called forth many controversial opinions such as Andrew Herrman’s in the Chicago Sun-Times: „The administration of Grant Park receives many letters from residents of the city. Some of them hate and some of them love the headless, armless figures of Pani Magdalena. None are neutral.” Personally, I think art that calls forth neutral feelings doesn’t have much worth.

The artist herself is inclined to define her work with a short statement that art cannot be defined in words; she suggests interestingly that her installation might recall trees or be used by climbing children. The park administration has not reacted enthusiastically to this idea but does not reject this interpretation.

Also noteworthy is that the value of these 106 „abakans” is around three million dollars, and only $700,000 comes from American sponsors (among others the actor Robin Williams); the rest comes from the Polish government and Polonia’s foundations.

Time will tell whether the headless figures remain permanently in Grant Park,  changing the Chicago landscape, or they simply act as a meeting place for a brief time. Nonetheless, it is terrific that we are able to witness such an artististic event and are able to show it to our children and American friends. There are many excellent artists worthy of recognition whom we should get to know; let’s hope we are able to see their works in the future on a similar scale in our region. We wait patiently now for the presentation of Adam Grant’s work (on January 5th, see article in this issue of the Forum) and the upcoming exhibit of the photographer Janusz Szczotka. As always, we welcome visitors to our museum.

Monika Dedejczyk
Translated by Sean Martin

Forum, 12/2006

But it’s easy to spend money. It was also important to show personality and creativity, especially artistic creativity. And a new fad helped: paint by numbers! The idea was a phenomenon. Entire sets were sold: the picture, paints, and brushes. Everyone could match the color with the number and paint those areas with the same number the same color. In this way they painted their own works of art with their own hands.

There’s a story about two rich businessmen in Toledo in a store with large frames, exchanging comments on their own works of art. Then they visited each other and noticed the same picture in the same place in the house. It’s possible the paintings are hanging to this day.

To tell the truth, I would glady own one of these paintings. Because one of the artists who prepared the templates for the paint by numbers sets was Adam Grochowski Grant, a survivor of both Auschwitz and Mauthausen who was born in Warsaw in 1924 and died in Toledo in 1992. Adam Grant was a well-known and respected artist. His paintings have been exhibited all over the world, in faraway Krakow and in nearby Youngstown, at the Butler Institute of Art. Articles about him and his work appeared in the Toledo Blade and in American Artist. So when I found out that his wife, Peggy Grant, makes presentations about her husband’s work throughout Polonia, I invited her to give a talk at the Center.

Peggy Grant will discuss the life and work of her late husband at the Center on Friday, January 5th at 8 pm. I am certain that you will find both the history of his life and the power of his creativity inspiring. Additional information about Adam Grant’s work.

Ryszard Romaniuk
Translated by Sean Martin

Forum, wydanie specjalne 12/2006

When it comes to libretto we have a certain novelty. It was written by two authors: T. Ph. Baron von Gebler, a dramatist living in Mozart’s time, and Dorota Sobieska, whose part was substantial. Sobieska kept main plots and likeness of characters extending the legend written a long time ago for theater. The incidental music was mainly choral. In order to make it a full show the music needed to be expanded to include new arias and interludes, a task given to Halim El-Dabh, Egyptian by birth, Kent State University professor, and a composer of world renown. This seemingly very risky experiment turned out to be a success. The classical music of Mozart is juxtaposed in this new piece with the music of the XXI century. The enriched language of modern composition added to the piece a lot of lyrical quality and Egyptian character based on the folklore, because the action of the story is placed in ancient Egypt.

Two threads intertwine in the story: romance and a ruthless fight for power. Villains must surrender, even perish under the pressure of goodness and noble aims. Nobody here is a murderer; the strength of the God of Sun causes the bad people to step aside or die, and the pair of lovers, Sais (Dorota Sobieska) and Thamos (David Sadlier), find themselves in the middle of a storm of events and become husband and wife. Besides, Thamos becomes a king. The fact that we were able to see this work is a result of the chance incident that often rules human fate. In order to celebrate the tenth anniversary of Opera Circle Dorota Sobieska was planning to create something new and original. She thought about writing music to the biblical Genesis, but she was not sure about the choice. With unexpected help came a radio program she listened to while driving. It was Mozart’s Thamos – with beautiful choral music. She could not drive anymore, stopped, and listened to the enchanting music. Time, many connections, conversations, her creativity, engagement of artists, many people, among others Halim El-Dabh, whom she knew for almost twenty years, wrote the rest. Was she planning a cooperation? On such a scale? And with such sensational results – it is hard to say. This work will not be lost. The creators will publicize it, send it to orchestral assemblies, to musical theaters, to conductors in different countries, in a version written for respective instruments by Wanda Sobieska.

It is fascinating, that such a small ensemble, with the cooperation of Polish-American circles supporting Opera Circle, was able to perform a work with such a large cast. Music Director Jacek Sobieski conducted a full orchestra of 40 members. The eight soloists, found and chosen from the best, were most aptly cast to represent the characters in the story.
The choral parts were performed by two assemblies numbering 70 singers: the Summit Choral Society and Opera Circle. Ballet was represented by groups from Youngstown Connection and Verlezza Dance from Kent.  The costumes, decor, and text translations completed the spectacle. Thanks to the projected subtitles the spectators were able to understand the context of the drama presented in three languages: German, English, and old- and modern-Egyptian.

The piece had good reviews in The Plain Dealer. Music critic Donald Rosenberg, a specialist of high class, described this musical event twice with a great acknowledgment – on the 7th of May as a preview before the premier and after seeing the spectacle on May 16th.  He presented Opera Circle with unusual warmth and recognition describing it as a “small group with great ambitions” and adding, that not many musical theaters in the world would decide to present an obscure and uncompleted work by Mozart on such a large scale. The critic gave accolades to the performers and composer Halim El-Dabh calling the performance masterful and full of finesse.

I had the pleasure not only to participate in this spectacle as a member of the chorus, but also to host the soloist tenor, David Sadlier, for a couple of nights. Even though he came back after the spectacles tired and late, he readily shared with us his impressions about the directors of Opera Circle. He liked the aria of Sais and Thamos very much, saying it was ideally composed and directed. D. Sadlier would like in the future to sing works by Wagner, but he also feels famous in modern operatic music. He has a very strong and well-controlled voice; we will probably hear his name again if he’ll become a member of a good theater. Practically all soloists deserve an individual presentation. Michael Match is a contra-tenor with a voice of unusual strength and high reach. Other performers were Ray Liddle (baritone, as Sethos), Marc Schapman (tenor, as Pheron), Laura Avdey (mezzo-soprano, as Myris), Jonathan Stinson (baritone, as general Phanes), and Robert Davis (tenor, as Hammon).

The three performances of “Thamos, King of Egypt” took place in the church of St. Stanislaus on May 12, 18, 19 at 8:00 PM. Congratulations to the Opera Circle and thanks to all co-creators and participants. On the occasion of last (unfortunately) jubilee concert we sing to all 100 years as loud as possible and with the best wishes.

Dr. Elżbieta Ulanowska

Forum, 6/2006

There was a time in Poland when there was a vibrant movement of film discussion clubs. The first clubs arose during the political strife of 1956. Soon thereafter, a nationwide federation of clubs formed, to represent the clubs to the state authorities, giving the clubs a certain status that removed them from the oversight of the local authorities. Every independent initiative in the PRL, not inspired or developed by the party, was in some way or other under the control of a party institution, or at least under suspicion. The clubs were forced to search for their own patrons among different groups, including schools, factories, offices, and cultural centers, and so such sponsorship was necessary. The repertoire – above all, the meetings and discussions after the movie showings – comprised an oasis of freedom in the world of the PRL. There were few other places where it was possible to be so open, to say what you were thinking publicly. Often the films simply became a pretext for conversations about people and everyday situations, about the rules governing social life.

What could you see in the clubs, what attracted viewers, especially the young and active members of the groups? The repertoire of the DKF clubs was both lively and inspired, though often elitist; all the activities of the movement gave the organizers, audience, and participants in the discussion a feeling that they were participating in something authentic, something that, to a great degree, belonged to them. This meant a great deal in those times, especially in the sixties and seventies. Even more when it turned out that we young movie fans had the chance to meet Antonioni, the legendary director from the inaccessible abroad, who was invited to one of the club’s seminars.

1989, the year of the fall of communism and the beginning of terrific change, brought the end of the film club movement. The 1980s had not been the best years for the movement; Solidarity had shown that there were many ways to lead activities independent from the authorities. In addition, martial law meant the liquidation of many publishing houses that had printed numerous publications outside the control of the censor, and so the clubs ceased to be as attractive as they were in the earlier period. However, thanks to the American, French, and German embassies, which lent the DKF clubs free films not available in movie theaters, the clubs continued to prosper. With the arrival of freedom and capitalism, it turned out that anybody who wanted to show a movie had to pay the distributor, and so paying to send a copy of a film for one showing in some small town in the provinces did not work out. In 1988, there were 550 film clubs registered. Today, there are about 130.

Fortunately, the clubs continue to function. A recent film retrospective in Warsaw recalled the best years of the clubs while reminding us of what it was possible to realize during those times. DKF Kwant, one of the best clubs of the earlier times, devoted to Czechoslovak film of the sixties and affiliated with the Warsaw Polytechnic, was the organizer of the event. Some of the most important creators of Czech and Slovak film, including Jiri Menzel, Vera Chytilova, Juraj Herz and Martin Sulik, participated in an excellent seminar in conjunction with the retrospective. Vaclav Havel, first president of the new Czechoslovakia, was a special guest. Accompanying the retrospective was a beautiful catalog, dedicated to the topic of the seminar and including descriptions of the films, both the most popular and those lesser known, above all, those that never made it to the theaters after the invasion of Czechoslovakia by the Warsaw Pact powers. I fear that such a thoughtful selection of wide ranging films from the Czechoslovakia of this period will never be shown again.

With real joy, I practically ran to the movie theater on Krakowskie Przedmiescie, feeling the excitement from years past, when I watched the films with other young people, a feeling the organization of the seminar could not hope to duplicate. Today’s discussions didn’t have the same intensity. Perhaps there are more important problems clamoring for attention than old films.

Józef Lorski
Translated by Sean Martin

Forum, 5/2006