Archive for the ‘Art’ Category

ArtDeco…… Tamara L. – Maria Górska

Friday, April 1st, 2005

Along with many others, I recently had the opportunity to enjoy the stage production of “Tamara L” at the Polish American Cultural Center.  Joseph Hart, the newest member of our editorial team at FORUM, recently reviewed the play.  Because of Eugene Bak’s efforts to bring the Polish theatrical troupe and their play, “Tamara L” to Cleveland, I take the opportunity to convey to our readers some of the interesting history of the twenties, and to tell about one of the fascinating figures at the center of that era. (more…)

Oscar for Polish Composer

Tuesday, March 1st, 2005

Oscar recognized the Polish composer Jan A. P. Kaczmarek this year for his music to the film, „Finding Neverland”.

Jan A. P. Kaczmarek, who has lived for many years in Hollywood, has written the music for many important films. In his opinion, there appear only two or three really good films each year, among the hundreds of mediocrities.
„Finding Neverland” includes many of the elements of a first-rate film. It tells the emotional history of the life of the Scottish writer, James Barrie (1860-1939). Marc Foster, a well-known director with many Oscars already to his name, adopted this theme and engaged many of the greatest Hollywood stars in both leading and supporting roles. (more…)

Second Passion of Irena Jarocka

Saturday, January 1st, 2005

The beginnings were quite nightmarish for one of Poland’s most celebrated singers. Irena Jarocka first arrived in the U.S.A. in 1990.  Following her husband to this country, Irena Jarocka left behind everything she loved and held dear in Poland.  She felt hopelessly lost, as have many of us, when she arrived here.  She remembered an active, engaging life of creativity and successful artistic endeavor and longed for her beloved Warsaw.  Alienated, she found her new home bleakly devoid of culture – “just a hole, far from civilization” she would often sob in frustration. She didn’t sing at all for a year, falling into pessimism and deep depression.  She found it difficult to muster a smiling face for the outside world when she went out.


The Maestro

Wednesday, December 1st, 2004

The Polish-American Center can add another notable occasion to its record of events. Extraordinary in the literal and figurative sense of the word – because how many times in life can you exchange a few words with a maestro, indisputably one of the best in the world? I’m referring, of course, to our meeting with Krzysztof Penderecki on Wednesday, November 10th.

Even those who have no interest in classical music will, upon hearing his name, recall „Ah, yes, the composer!” Yes, actually the composer, whose recordings are known worldwide and whose fame spread beyond the borders of Poland already in the 1960s.


Murals on the walls of Polish – American Cultural Center and their creators

Friday, October 1st, 2004

Today I have an interview with creative people–artists. I really enjoy writing about art, therefore it is my great pleasure to focus on two local gentlemen and their creations. They are Mr. Hubert Wisniewski,  Interior designer and Arthur Berg graduate of the Virginia Marti College of Art.

Interior design, has its fashionable trends and styles as any other art form.  In general, the predominant  media  have been : oils , acrylics, watercolors, etc.  Gaining in popularity once again, is the very old technique of painting directly on walls of homes, offices, or elegant banquet halls, as for example, the one found in the Polish-American Cultural Center.  The architectural landscapes we see depicted within are the Cathedral of Gniezno ( a view from a current photo)  Palace Square in Warsaw (a view based on a painting by Canaletto) and the Krakow Marketplace or Main Square, ( a current view). These three murals represent the three historic capitals of Poland:  Gniezno, Krakow and Warsaw.   These murals are the works of the two artists I have mentioned.  Without much further ado, I would like to  introduce these gentlemen to my readers.


Opera Circle’s Musical Marathon at the Center

Sunday, August 1st, 2004

This never happened before: it took place for the first time and hopefully with many repeats.

The two-day performance of the Opera Circle ensemble will go down in history as a cultural event recorded in gold letters.

On Saturday evening, June 26th, a piano recital featuring Jacek Sobieski took place at the Center. The following day, after traditional dinner was a yet another spiritual feast. All thanks to Dorota Sobieski. This time it was a musical program entitled “Addio!” which ended the Opera Circle’s season for the summer.

First, let us focus on the Saturday piano performance of Jacek Sobieski. He played a repertoire that was ambitious and at the same time interesting.


Bellini 101

Thursday, January 1st, 2004

Were it not for the fact that I had been assisted in choosing pastries for the reception following the program by an enthusiastic set of two considerably younger siblings, I could have easily been led to believe that I was attending a lecture presented at a most prominent college of arts and humanities. The Symposium, which took place at our very own Polish American Cultural Center on Sunday, November 16, 2003, at 4:00 pm, was presented, as noted during the open discussion Dr. Jerzy Maciuszko, by several of the most distinguished scholars from the entire city of Cleveland. Opened by none other than Mr. Robert Finn, former Plain Dealer music critic, a position he successfully filled for 27 years, it was continued by Dr. Peter Laki. Only someone of his cultivated breadth of knowledge could have been able to undertake the Herculean task he considers his daily work: to write weekly program notes for the Cleveland Orchestra, a feat most appropriately compared by Mr. David Krakowski to writing a Master’s thesis a week. For his part, Mr. Krakowski, best known to us from his seemingly endless myriad of abilities as music director and organist at St. Stanislaus Church, participated in the Symposium as moderator, alternately presenting the leading speakers and deftly maneuvering the course of the broad discussion. How fittingly he introduced the final guest, not to mention the one most dear to our hearts: the master of the bel canto or canto legato school of singing Dr. Dorota Sobieska.


A Double Success of Composer & Performer Alike: La Straniera of Opera Circle

Monday, December 1st, 2003

I shall refer to antiquity, as many a writer thus open their thoughts. In the 4th century B.C., Aristotle reflected on the capacity of music to soothe the senses, & certain forms thereof to cleanse the soul. He could not have possibly known the musical output of Bellini, since the latter lived in the 19th century. I suspect, however, the Greek philosopher had in mind precisely the sort of music Vincenzo left behind—full of endless beauty, faithful to the texts, rich in melodic lyricism, introduced to the ear gently, without disturbance.

Vincenzo Bellini, beloved composer of Dorota Sobieska & Jacek Sobieski, has for the fifth time appeared in the repertoire of Opera Circle. From premiere to premiere he grows more and more beautiful. Norma, glorious and musically exquisite, was succeeded by La Straniera, equally beautiful, perhaps more accessible, as if ornamented by motives of folklore, compositionally simple but incredibly effective. The three performances of La Straniera proved a grand success of Opera Circle. In particular, that of November 20, 2003, at Grace Lutheran Church, will make its mark in history. Nothing short of a revolution, the response of a full house was far beyond enthusiastic, better characterized by excruciatingly lengthy ovations and yelling: “Bravo! bravo!”


The Making of Norma: Daughter of Oroveso

Wednesday, January 1st, 2003

Vincenzo Bellini first saw the tragedy Norma by the playwright Alexandre Souret produced on a Parisian stage in 1831. Fascinated by the drama, Bellini soon employed it as the subject of his own opera by the same name, which he completed within three months of the theatrical performance. The romantic character of the work, brought to life by the music of Bellini, garnered the composer a true success.

In Warsaw, the original premiere of Norma took place in 1843 in the original Italian, followed by a production in 1845 with the text set in Polish. Since then, the opera has been respected for its unique role in the repertoire. However, the actual production of the opera is a task far from frequent, as the level of difficulty for the vocalists demands excellent vocal training and technique. The complex arias and ensembles require from the singer a remarkable range and continuity of phrase, both in lyrical moments as in coloratura passages.