Skan wywiadu:
TŁUMACZENIE/TRANSLATION
With polish bariton Mariusz Kwiecień talks Wilfried Górny.
During stage debut in the opera theater you showed unmistakable
intuition of the scene. You showed your big acting talent and vocal
skills. Do you need a public to create a sublime creations?
The audience gives me wings, help release this energy, which is necessary to awaken the characteristics belong to character. My profession does not exist, if not the audience, who comes to performance to the theater or buying recordings.
Maybe not quite yet with the recording studio, but with the recording for the first time you probably encountered in the Walthamstow Assembly Hall in London - exactly ten years ago, in August 2001. Can you remember what kind of emotion you felt during those recording sessions?
Then I was very inexperienced and unprepared for recording. The recording session took place after my two-month summer vacation filled with follies, and not exercise voting rights. After such a long time without singing, you have at least a week warming up the voice to be able to return to good, from a technical standpoint, singing. I remember the frustration during the repeated arias and duets all the time, but my strengths and excitement associated with the first contact with this type of recordings.
On the record market moves more and more DVDs from live performances recorded, including Don Giovanni in San Francisco, Eugene Onegin from the Bolshoi Moscow, Paris King Roger, Lucia di Lammermoor and Don Pasquale with New York. We wonder whether the registration of these performances you sign a separate contract, and whether it differently then you normally play and sing?
Nowadays, opera singer doesn't have much to say about the recording of performances. Often on the Internet there are fragments of performances that were not officially recorded. Sometimes the opera theater in the contract contains a provision about the possibility of release production on the DVD , or after the successful premiere we learn that they have an idea of using recordings from the show and release CD. Of course, we don't protest, because we know that each disc expands circle of people who hear us and maybe come to the theater to see this performance live. What to sing during the recorded performances, I do not play or sing differently than any other show. I have no awareness of the video camera, and if I see them, I always acting out my character in 100% and I can't play it better or more beautiful than usual.
It seems to me, that the Requiem of Brahms with Choir and Symphony Orchestra in Atlanta issued by the american company Telarc is also recording of concerts in November 2007
Yes, the Brahms's Requiem was recorded during two concerts, and released DVD and CD.
But Chopin's songs on the CD released with Aleksandra Kurzak you recorded in the recording studio. What kind of feeling you felt?
Chopin's songs are not the most valuable compositions of the master, so I had not them in my repertoire. Recording them was an opportunity to work with the great pianist Nelson Goerner.
Ola Kurzak recorded them individually, so we haven't met during the recording session. I don't like concerts and recordings. I am a theater artist and I feel there best. All recordings in the studio is a kind of sacrifice from my side, this is something that I wouldn't do in otherwise marketing.
In the communist Poland, Polish opera singers often appeared in the solo repertoire, even on vinyl records. Today this type of recordings are uncommon. Is there any chance to hear you with orchestra playing under the baton of maestro Łukasz Borowicz? On stages and concert halls you showed a master artistic agreement.
Łukasz Borowicz is a gifted, young conductor and joined us our youth, energy and love for opera. Therefore, in the near future I release my solo album, which will include Slavic composers arias, and conducted by Łukasz Borowicz.
Great, what repertoire is on it?
The album will include arias from russian operas: Onegin, Aleko, Sadko, Jolanta, Mazepa, Prince Igor. From the Polish repertoire we recorded Sword-bearer of the Haunted Mansion, Janusz from Halka, Stanislaus from Verbum Nobile and the last scene from King Roger. In addition, there will be also two czech arias: one of the comic opera of Dvorak - Selma Sedlak (Peasant rogue) and one of the Smetana's romantic-comic opera - Certova stena (Devil's wall).
Who and when produce a recording about which you speak?
The album will release british subsidiary of a french Harmonia Mundi in late 2011
Thank you for the interview and I wish you more frequent than previously studio recorded in reputable record companies.
The audience gives me wings, help release this energy, which is necessary to awaken the characteristics belong to character. My profession does not exist, if not the audience, who comes to performance to the theater or buying recordings.
Maybe not quite yet with the recording studio, but with the recording for the first time you probably encountered in the Walthamstow Assembly Hall in London - exactly ten years ago, in August 2001. Can you remember what kind of emotion you felt during those recording sessions?
Then I was very inexperienced and unprepared for recording. The recording session took place after my two-month summer vacation filled with follies, and not exercise voting rights. After such a long time without singing, you have at least a week warming up the voice to be able to return to good, from a technical standpoint, singing. I remember the frustration during the repeated arias and duets all the time, but my strengths and excitement associated with the first contact with this type of recordings.
On the record market moves more and more DVDs from live performances recorded, including Don Giovanni in San Francisco, Eugene Onegin from the Bolshoi Moscow, Paris King Roger, Lucia di Lammermoor and Don Pasquale with New York. We wonder whether the registration of these performances you sign a separate contract, and whether it differently then you normally play and sing?
Nowadays, opera singer doesn't have much to say about the recording of performances. Often on the Internet there are fragments of performances that were not officially recorded. Sometimes the opera theater in the contract contains a provision about the possibility of release production on the DVD , or after the successful premiere we learn that they have an idea of using recordings from the show and release CD. Of course, we don't protest, because we know that each disc expands circle of people who hear us and maybe come to the theater to see this performance live. What to sing during the recorded performances, I do not play or sing differently than any other show. I have no awareness of the video camera, and if I see them, I always acting out my character in 100% and I can't play it better or more beautiful than usual.
It seems to me, that the Requiem of Brahms with Choir and Symphony Orchestra in Atlanta issued by the american company Telarc is also recording of concerts in November 2007
Yes, the Brahms's Requiem was recorded during two concerts, and released DVD and CD.
But Chopin's songs on the CD released with Aleksandra Kurzak you recorded in the recording studio. What kind of feeling you felt?
Chopin's songs are not the most valuable compositions of the master, so I had not them in my repertoire. Recording them was an opportunity to work with the great pianist Nelson Goerner.
Ola Kurzak recorded them individually, so we haven't met during the recording session. I don't like concerts and recordings. I am a theater artist and I feel there best. All recordings in the studio is a kind of sacrifice from my side, this is something that I wouldn't do in otherwise marketing.
In the communist Poland, Polish opera singers often appeared in the solo repertoire, even on vinyl records. Today this type of recordings are uncommon. Is there any chance to hear you with orchestra playing under the baton of maestro Łukasz Borowicz? On stages and concert halls you showed a master artistic agreement.
Łukasz Borowicz is a gifted, young conductor and joined us our youth, energy and love for opera. Therefore, in the near future I release my solo album, which will include Slavic composers arias, and conducted by Łukasz Borowicz.
Great, what repertoire is on it?
The album will include arias from russian operas: Onegin, Aleko, Sadko, Jolanta, Mazepa, Prince Igor. From the Polish repertoire we recorded Sword-bearer of the Haunted Mansion, Janusz from Halka, Stanislaus from Verbum Nobile and the last scene from King Roger. In addition, there will be also two czech arias: one of the comic opera of Dvorak - Selma Sedlak (Peasant rogue) and one of the Smetana's romantic-comic opera - Certova stena (Devil's wall).
Who and when produce a recording about which you speak?
The album will release british subsidiary of a french Harmonia Mundi in late 2011
Thank you for the interview and I wish you more frequent than previously studio recorded in reputable record companies.
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