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

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

Mozart created twenty scenic-vocal works, which, considering his short life, barely 35 years, was a great achievement. He composed his first opera at the age of 10. Bastien and Bastienne was created when this talented child was only twelve years old.

The works of young Wolfgang exhibit a great maturity, musically speaking, with an astonishing beauty. They are full of noble simplicity, lightness, and wisdom in the musical illustration of distinct types of figures.

During a certain period, there reigned the view among music lovers that music was the result of artists expressing themselves in the supernatural „language of God”. In this interpretation of music, the composer was unusually essential, chosen by the Creator as an intermediary between God and people, linking heaven and earth.

However, genius and the anointing of talent does not mean a lack of suffering. Mozart was a master in this area, too, and he experienced many reversals of fortune, such as illness, intrigues, straitened circumstances, ending in an early death in isolation from those to whom he was most close, including his wife.

In 1768 twenty-year-old Mozart received an order from a  famous Viennese doctor for the composition of a comic opera to the libretto by Friedrich Weiskern. The pastoral story mixes irony  and bucolic sentimentality. There is the love between two young people, but in a moment of crisis separation threatens the two lovers. The young shepherdess Bastienne suffers to the point of pain, because her beloved Bastien, tempted by a rich young aristocratic woman, has seemingly forgotten about her. The abandoned girl runs to Colas, the old fortuneteller in the neighborhood; people believe that his magic helps in affairs of the heart. The girl tells the magic man of her heartbreak and asks for advice. Colas tells her she should not show Bastienne that she is in despair. On the contrary, she must be happy and coquettish, even turn her attention to other boys. The awakening of jealousy is an unfailing way to return feeling, if it is real and deep.

When Colas next meets with Bastien, he tells him that Bastienne has fallen in love again. He suggests a magical ceremony and incantation that aids in the return of love. Shortly after, the shepherdess and her lover meet as if by chance in the same place. Seeing each other, they pretend complete indifference. This does not last long, as their love returns and they fall into each other’s arms. The magic worked. The opera concludes with a tercet glorifying the efforts of the magic maker Colas. Bastien does not figure out that Colas, not the strength of the magic, caused such a change in affairs.

Bastien i Bastienne has been in the repertory of European theaters since 1890.

There is a joke about the great Mozart. In heaven, the compositions of Jan Sebastian Bach are obligatory. But if the Highest Power fails to pay attention even for a moment and doesn’t turn their way, the the angels play Mozart. Surely the angels most enjoy Mozart’s youthful creations.

Opera Circle, so experienced in presenting Mozart’s operas, will no doubt achieve expected success again with Bastien i Bastienne.
Come with your families and friends to Bastien and Bastienne at St. Stanisław’s Church on Friday, January 26th and Saturday, January 27th at 7:30 p.m. One of the greatest pleasures flowing from music is this that we can teach others how to love it.

Dr Elżbieta Ulanowska

Forum, 1/2007

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

The English composer, Henry Purcell  (1659-1695) and the Italian, Giovanni Battista Pergolesi both lived short lives, particularly Pergolesi who died in 1736 at the age of 26.  Opera Circle performed  Pergolesi’s “Stabat Mater” and  Purcell’s opera, “Dido and Aeneas” .

It’s quite difficult to describe  “Stabat Mater” in words alone.  It would be so much better if the reader could listen and hear this composition first hand as the complex, profound and beautiful work it is.  The mother of Jesus, stands at the cross (“Stabat Mater”) suffering the agony of the dying Christ as only a mother could.  Many composers have tried their hand at evoking the mood and intellectual depth of this somber subject under this title, including G.P. Palestrine,  J. Haydn, F. Schubert, G. Verdi along with our Polish composers Elsner, K. Szymanowski and K. Penderecki.  Yet, Pergolesi’s composition remains the outstanding one for its sheer beauty.  Written for sopranos and mezzo-sopranos, it’s comprised of thirteen parts, each with its own subtititle and includes two small choral sections. Excellent performances by Dorota Sobieski, soprano and Joanne Uniatowski, mezzosoprano were accompanied by an orchestra of six musicians under the direction of Jacek Sobieski and a performance by the Opera Circle Choir.

The second part of the two concerts was a performance of high caliber indeed.  Not only was the music of the mystery opera  “Dido and Aeneas” magnificent, its entire production was performed on a scale worthy of the title of spectacle. This grand undertaking included almost 100 performers!  But before we talk about the performance and performers, let us look at the composer and his work.

Henry Purcell of London, was one of four composers  named Purcell working in England at the same time.  But only Henry went down in history as an astounding talent. The amazing richness of form and the large volume of work move him way ahead of other English composers.

Stylistically his music belongs to the Renaissance, but the simplicity and frugality of its technical means, that is, the use of instruments, bring his music closer to a more modern esthetic.  It is important to note that his accomplishments preceded the era of  Bach.

The Opera Circle’s performance of “Dido and Aeneas” featured our earlier acquaintances in the title roles–Amy Scheetz-Tatta  as Dido, Queen of Carthage and Troy Ayers as Aeneas.  The soloists’ performances of the arias and those of the chorus were outstanding. Dorota Sobieski portrayed the loyal friend who suffered along with Dido, the tribulations of parting with Aeneas. As usual, her polished performance was informed with insight into the character as well as her great knowledge of music.

Soprano Nicole Boeke made her solo debut as the lady in waiting.  Earlier she was a member of the Opera Circle choir.  As for the trio of evil magicians, the witches were performed by Agnieszka Duda–Bieniek, mezzosoprano and Christina Vernon, soprano.  The third figure in the group was played by Michael Match whose unusually high countertenor gave the role an additional magical quality. We heard the voice of Robert Davis as the sailor and Max Nolin performed the role of the ghost.

The same orchestral group who performed the “Stabat Mater” was led by Jacek Sobieski who also played the clavichord; Hristo Popov was the first violinist;  Trista Emmons played the viola, with Gregory Fiocca on the violoncello and Andrew Vadyak on the contrabass.

The Choir plays a major role in this opera, singing many of the beautiful compositions. Worthy of notice were the masterly performances of two youth choirs who together comprised 80 young people. The Youngstown Connection under the baton of Carol Bard as well as Roosevelt High School  Choralworks under the direction of  Donna Drews  gave excellent performances.  The extraordinary and beautiful ballet was choreographed by Sabatino Verezza and Tracy Pattison.The choreographer of the group from Youngstown also danced a solo performance as well as a duet, creating an unusual bridge between dance of the past and  modern dance.

As for the costumes, the dominant color scheme was antique white accented with black. Only the evil spirits were garbed in red and this created a very dramatic effect that added to the drama of the spectacle of “Dido and Aeneas”.

I asked the producer, Dorota Sobieska how they selected the music that will be performed in the coming season.  I learned that first, the entire Sobieski family meets to discuss the issue and put forth ideas. They run through the entire gamut of possibilities, debating the pros and cons, taking into consideration the size and complexity of the works as well as their company’s resources, capabilities and limitations.  Their selections are made after debate and careful consideration.

Having attended both concerts, I couldn’t help but notice that there were very few Poles in attendance.  I am at a loss to explain why there is so little involvement of the Polish community in supporting Opera Circle.  I am happy to report however, that Americans attend frequently and are enthusiastic supporters.

Opera Circle is raising the bar on its repertoire higher and higher.  It’s well worth supporting them with good attendance.

Dr. Elzbieta Ulanowska
Translated by Sophie Wisniewski

Forum, 4/2006

With the right author addressing the topic, one can find much light humor in the relationship between husband and wife. The librettist Ustano Vaez is one such author. He came upon an idea to show us something different and just a bit livelier for the amusement of the audience: one wife with two husbands under no suspicion of bigamy, but rather living in accordance with the law.

The sexy Rita marries early, but, unfortunately, not happily. Her problem solves itself quickly; her new husband Gasparo goes off to sea, becomes lost, and no trace of him remains. Rumors are that he went down with the ship in unknown circumstances. Thinking she is a widow, Rita, after several years, remarries. Her partner is an obedient man, and Rita continually nags him at the inn which they run together. Rita’s husband is ineffectual, and she complains about him often. He can not work as a waiter, he breaks the porcelain, and he serves guests poorly.

A stranger appears at the inn one day, none other than Gasparo, Rita’s first husband. He had emerged whole from the catastrophe, but only then learned that the news which had reached him earlier, that Rita had perished in a fire, was false. He arrives now only to reclaim the old record of his marriage, because he plans a new marriage in Canada, probably his third, but who’s counting?

Gasparo, seeing the situation of Beppe, Rita’s ineffectual husband, instructs him to leave him alone for a moment with his wife. Rita comes and brings Beppe her passport.

Gasparo and Rita quickly get to know each other, but they avoid the essential conversation, and Rita leaves the scene. Beppe returns in excellent humor. Based on the passport, it turns out that before him stands Rita’s first husband. He rejoices at the thought that he may soon be free of his nagging wife. Sounding more authoritative, he asks Gasparo to return to Rita. Neither gentleman can determine whose wife Rita really is, who is replacing whom. They draw straws to determine their fate. Gasparo draws the short straw; he has to stay with Rita.

Beppe rejoices at the results of this lottery, but his joy is shortlived. Rita will decide which of them will be her partner for the rest of her life. Promising Beppe she will treat him more kindly, she remains with him on stage in a happy embrace. Meanwhile Gasparo gets his necessary record of marriage and leaves forever.

Donizetti was a master at combining musical, comical, and emotional moments. His other operas, such as Napoju miłosnym, staged by Opera Circle in 2001, attest to this talent. The composer was able to link the sounds of music and the levity of humor into a delightful whole.

Donizetti, after leaving Naples, spent many years in Paris, which enhanced his ability to connect Italian melodies with the finesse of French rhythms. We saw a production in which the smooth text and music combined remarkably into an entirety pulsing with life; the subtle instrumentation and well directed scenes were an additional pleasure for the audience participating in this significant cultural event.

Dorota Sobieska did well to place Sharon Shaffer, soprano, in the title role of Rita. Her talent presents itself equally well in her excellent voice and her remarkable acting ability; she splendidly combined the elements of the vocalist’s movement and created a characterization in accordance with her personality. Troy Awers, tenor, as Beppe the henpecked husband, has many solo performances in the United States and Germany to his credit. He was superb in Rita.

The third soloist, baritone Alfred Anderson as Gasparo, is a soloist with great experience and artistic contributions. He created a real character in the sneaky and comic first husband of Rita. Alfred Anderson was also the director of the production.

A troupe of six instrumentalists accompanied the performers, among them Hiro Popow as concertmaster and Wanda Sobieska as second violin. Jacek Sobieski directed. The production rested in the hands of Dorota Sobieska.

The excellent Italian buffet which the audience enjoyed is also worth a few words. The excellent wine and atmosphere of the whole evening encouraged interesting table conversation. Without exaggeration I think we can say this was certainly one of the most enjoyable cultural evenings in the history of Cleveland’s Polonia.

Dr. Elżbieta Ulanowska
Translated by Sean Martin

Forum, 2/2006

In October of this year Warsaw once again experienced the excitement of hosting the International Chopin Competition. This year for the first time ever Polonia and music lovers all over the world could follow this historic event live via internet and satellite. And there was so much to follow!Almost 300 pianists from all over the world descended upon Warsaw to take part in the eliminations. This year’s competition was dominated by Japan and Poland.  Eighty pianists represented Japan and about fifty represented Poland.  Among them were the favorite, golden child of the Polish public, Stanisław Drzewiecki, and the winner of this year’s Chopin Competition in Poland, Rafał Blechacz from Bydgoszcz. Approximately 20 pianists also came from the United States to Warsaw.

After two weeks of auditions, the jury selected 80 pianists to the preliminary round of the Competition. 20 Poles, 19 Japanese, and 6 Americans were among the selected.  In the preliminary round each contestant presented close to an hour recital that included etudes, nocturnes, ballades, waltzes, and scherzos.  Occasionally a barcarole, rondo, tarantella, or even exotic bolero could be heard. The diverse and often riveting recitals almost uniformly represented the highest artistic standards. After 9 days of this piano marathon, a jury consisting of 19 renowned international pianists selected 32 semi-finalists.

9 Japanese, 7 Poles, and 3 Americans were among the 32 lucky ones.  The greatest surprise was the elimination of Stanisław Drzewiecki, the favorite of the Polish public who did not advance to the semi-finals. This decision sparked emotional discussions and criticism that were often unfair to Stanisław and to the jury.  But first and foremost, this decision reminded the public that the Chopin Competition does not pass judgment on musical talent or technical abilities of a contestant but primarily focuses on judging the understanding and creativity in presentation of the genius of Fryderyk Chopin.

In addition to Stanisław Drzewiecki, Shen Wen-Yu, the favorite of the music critics who represented Germany; Sun Mei-Ting, the winner of this year’s American Chopin Competition; and Sonja Fraeki, an excellent pianist from Finland were also eliminated in the preliminary round.  The drama of the selection to the semi-finals was reflected in the deliberations of the jury. After a lengthy impasse, the jury advanced to the semi-finals two more contestants than originally envisioned.  Thus, the music lovers heard two more recitals in the semi-finals than originally planned.

In the semi-finals, the contestants presented a 40-minut program consisting of mazurkas, polonaises, and sonatas. This program favored Polish contestants because of an emphasis on Polish dance.  Over the four-day period, we heard many exotic mazurkas and banging polonaises in strange tempos.  But the Polish representatives did not disappoint. Their mazurkas were lively and vivacious as well as lyrical and nocturnal. They conveyed sparkling oberek from the tavern and unruffled kujawiak from the palace. Their polonaises were dignified, sublime, solemn, and ceremonial.

However, the Japanise team withstood the challenge. As a result of cumulative scoring, four representatives of Japan, three Koreans, and only two Poles were among the twelve finalists.  Two indisputable favorites of the public did not advance to the final round: phenomenal, blind Nobuyuki Tsujii from Japan who was only 17-year old and Ingolf Wunder from Austria, who stunned the public in the first round with his brilliant performance of etudes.

In the finals, Poland was represented by 17-year old Jacek Kortus from Poznan and by the winner of the Polish National Chopin Competition, 20-year old Rafał Blechacz from Bydgoszcz. The National Philharmonic Concert Hall was packed; the Orchestra under the direction of Antoni Wit already in their seats.  Exciting tension embraced the world of Chopin music lovers.  The first finalist to appear was Jacek Kortus, the youngest on the Polish team, only 17-year old!  This was his first ever performance of a concerto with an orchestra, and the first performance in the finals at the XV International Chopin Competition on the stage of the National Philharmonic.  Unimaginable pressure!  The brave young man came out of this character trial better than anyone could expect.  His performance was a little too tense to release his full artistic potential. Nevertheless, Jacek performed the Concerto in e-minor smoothly and with a perfect touch.

Next on the stage appeared Rachel Kudo from the United States.  Ka Ling Collen Lee, a representative of China studying in Germany, concluded the first day.  Commenting on the performances of the day, Ryszard Rodziński, President of Van Cliburn Piano Competition from Forth Worth, Texas, who observed the competition stated that the first three performances were good but not yet of medal quality.  Thus, the tension grew, and with it great expectations for that very special, extraordinary, or even historic performance of Chopin’s concerto.

A Japanese pianist, Yuma Osaki, opened the second day of the finals.  The second of two Korean brothers Dong Hyek Lim followed, and Shohei Sekimoto from Japan concluded the day.  Although Lim was the favorite of the public, the music critics fell in love with Yuma Osaki.  Her graceful and refined performance of the concerto was considered the best of the first six performances.

With half of the finals behind them, the attention focused on the remaining six contestants.  Among them were, in performance order, Yeul Eum Son from Korea, Reiko Nezu from Japan, Takashi Yamamoto from Japan who studies in Warsaw, a Russian Andrey Yaroshinsky, the second of the Korean brothers Dong Min Lim, and the best Polish representative Rafał Blechacz.

The third day brought good performances but no exceptional ones. As the ensuing performances did not excite while some even disappointed the public, the tension and the hopes for that very special performance grew even higher.  Thus, our expectations of the Polish representative grew exponentially. Suddenly people realized that Rafał Blechacz could be at the top of the scoring list. After all, his preliminary and semi-final rounds were both excellent.  All of a sudden while comparing his track record with other finalists it became apparent that Rafał had a real chance to become the laureate of this competition, that he even had a shot at the top prize.  By the end of the third day, it became clear that if Blechacz could perform his concerto correctly, he would be among the winners of this competition.

Andrey Yaroshinsky from Russia opened the last day of the finals.  His performance was not very successful, both technically and artistically. The second Korean brother Lim followed.  His performance was much better but he also encountered some problems. Finally, the long awaited moment came. On the stage appeared the last contestant of the competition – Rafał Blechacz – the focus of attention in quiet conversations but never discussed openly, the one kept in secret prayers of all Polish music lovers.

Rafał began the Concerto in e-minor with a clear, confident sound, but soon tiny hesitations in formulating melodic phrases signaled some tension. The first movement of this concerto is the longest and the most demanding technically.
We held our breath wondering if he would pull through, if he would make it.  After all, he played for the highest pianistic prize and everybody was fully aware of what was at stake.  But this was his day.  Rafał was unwavering.  He calmed down quickly and concluded the first movement with a great artistic touch and virtuosity.  The second movement, the slow and quiet one, completely eliminated any tension and released his full artistic potential, giving the public some taste of what was about to come in the final Rondo section.

The truly historic performance that everybody had been hoping to witness blossomed in the third movement.  Utterly immersed in music, Rafał presented a very personal and innovative Rondo. He offered his own vision of Chopin. And yet this vision was so close to what many of us consider our Chopin, we felt as if Chopin himself was addressing us.  Blechacz’s Chopin was not too lyrical and not too dynamic, was intellectual but also highly emotional. His Chopin was elegant, sophisticated but simple and natural at the same time.  At the beginning of the third movement, Rafał charmed the audience with a fantastic Krakowiak. He then effectively altered the mood, changing the tempo while remaining in step with the orchestra. His imaginative playing was effortless and reliably virtuosic. It was at that moment that the audience realized the historic significance of this performance – the birth of the Polish star of Krystian Zimerman’s stature. With the last cords of the concerto, a storm of applause and screams of wonderment overwhelmed the Warsaw Philharmonic. Rafał blessed us with a unique performance of Chopin’s concerto, the kind of performance everybody was waiting for. With the last cords, he became the uncontested winner of the Chopin Competition in the audience’s mind.

The jury also recognized the uniqueness and strength of Blechacz’s performance.  Not only did he receive the top prize but the jury decided not to award the second price in order to emphasize that Rafał was in a class by himself.  By not awarding the second prize, the jury confirmed that when it comes to the music of Chopin, Rafał Blechacz has no equals.  All special prizes for the best performance of the mazurkas, polonaise and concerto went to Rafał Blechacz too. The Korean brothers Lim received ex aequo the third price.  Two Japanese, Takashi Yamamoto and Shohei Sekimoto, shared the fourth price.  The fifth price was not awarded, while the sixth prize went to Ka Ling Coleen Lee from China.

To those who did not follow the competition closely, the glorification of Rafał Blechacz might sound overblown. After all, how could the correct performance of the many other contestants be so different from that of Blechacz’s performance? The answer lies in creativity. The genius of Blechacz lies in his imaginative recreation of the music of Chopin. It is not only about the correct presentation of the original score, but also about the presentation of what is in between the notes, of what is not written down.  It is about capturing the spirit of Chopin, the sprit that cannot be defined but can be felt, can be recognized; the spirit that offers artistic experience of the highest order. And for that, we thank Rafał!

Maria Szonert-Binienda

Forum, 11/2005