Tomasz first Polish to perform at ‘Bayreuth’
Music transcends barriers
Europe as well as the people living there (or visiting) got crazy over uncountable music festivals. It is different every year — there is more every year. Music tourism is booming so much that even the growing inconvenience of traveling does not stop this development. Of course, pop music festivals are on top in terms of attendance because of the young generation, as they move easier and are more eager to participate and follow.
However, all other music festivals could not complain about attendance (and income), even the elite events such as opera festivals. Elite? Thousands of people are gathering in special auditoriums or stadiums to listen to great music and singers, to look for amazing production, whether it is Aida under Pyramids, famous Barber in Salzburg, Gold of the Rheine at Wagner Shrine in Bayreuth or Romeo on Verona stadium (with Juliette, of course!). Reactions of the large audience are … (look below).
Participation in some events is a sort of ennoblement not only for attendees but also for young artists. How to climb to the top? I think the core is to have a clear aim and strong will — I like, I want, I am determined and ready to do everything. I do not mention details like having talent and luck. A single life story is always interesting for me. I would like to show you my ‘research’.
The story of my compatriot bassbaritone singer is, I hope, a good illustration of what was mentioned above. “My grandfather was a village fiddler who played the violin and clarinet in weddings. I have something such that my ambition continuously pulls me to new places.” His name is Tomasz Konieczny (Thomas literally translated to ‘Necessary’ or ‘Indispensable’ — an interesting paradox?)
Ovation
“I know that it is difficult to believe but the standing ovation during the Wagnerian spectacle in Germany reminded me of the audience’s reaction in the concerts of rock stars. Why did I settle in Germany? — I just got a scholarship at Dresden Music Academy. Half a year after, I got an engagement at Leipzig Opera (both — Saxony). Did I like to sing from the very beginning? No, it was the opposite. I wanted to be a theater director. I was too young when I entered acting (actors’) studies at the Film Academy in Lodz, Central Poland. Within one year, I debuted under iconic movie director, Andrzej Wajda, (Oscar for Life in US, Golden Palm in Europe and a lot of awards and top Orders with Legion d’Honneur) for his movie The Crowned — Eagle Ring. I also performed at the TV Theater, nothing would predict something common with singing.
‘When I was a Patrol Leader in Scouting, I played the guitar and piano but there was no way to persuade me to sing, but during the exam for actors at the Academy, it was obligatory to sing. I then started to attend private vocal lessons with the star of Lodz’s operetta theater. I sang a funny song ‘A Crone Was Sitting … by Father of Polish Opera, Stanislas Moniuszko’s. My teacher listened to me carefully and said ‘OK’. ‘I would prepare you to take the exam under one condition: You would simultaneously take an exam at the Vocal Department in the Music Academy.’ He added, ‘I know that you love theater but remember you will earn by singing!’ I laughed for long time.
“After graduating from the Film Academy, I entered the Music Academy as promised but I did everything else — movie dubbings, performing at the theater — and I neglected singing again. It was the time of Dresden scholarship. I set aside the acting career and went to study in Germany under Professor Christian Elsner. I have something in my character such that ambition always pulls me to new places. Half a year later I was offered the role in Bedrich Smetana’s (Father of Czech Opera), Bartered Bride, at the Leipzig Opera Theater. At the age of 25, I sang the leading bass role. I was employed at the prestigious European theater and Opera Director Jiri Kout discovered that my voice is a promising Wagnerian voice. I had very little knowledge about Wagner, his style and demands but I suddenly started to believe that I will earn my bread by singing.
Guardian
“For five years, I have been singing in Germany at Wagnerian ‘Ring of the Nibelung’ leading Wotan’s role (in Norse mythology Odin, a god of war and death, wisdom and poetry) who is a father of ‘gods’, arbitrator and guardian of the treaties, with his spear, an attribute of the law. In Opera repertoire, it is the highest, topmost German role. If the Germans and Austrians allowed a young Polish singer to present their ‘sanctity’, it means that he went quite high.
“This is a great responsibility: Wotan monologue feels like almost the whole second act of ‘Valkyries’ (you remember the popular melody from ‘Apocalypse’?), second part of ‘Ring of the Nibelung’ cycle. Wagner filled it with many important senses; every word and note has to be important and understood, as it is with ‘sanctity’.
“Funny, but I started gaining knowledge of the German language. For any question, I answered ‘Ja, naturlich …’ (Yes, of course) with a broad smile … It required much work on my part. Of course nowadays, there are outstanding Wagnerian singers like Bryan Terfel who sings pure German without the ability to speak German. I had in Dusseldorf, where I settled, a wonderful lady-coach on German pronunciation and I practiced continuously.
“For Polish, as I am, the most difficult is to pronounce ‘slant vowels’, sounding ‘spherically’, different from our ‘open vowels’ (‘a’ or ‘u’) which are — what a paradox! — easier to sing. Second aim is to be good in differentiating the short and long vowels, which is the core in understanding the meaning of words in some languages like English or French, not just German.
“My Opera activities brought me back to acting. At the beginning, I acted on stage as I was on TV: pulling face, limited gesture, playing eyes. At the Opera stage, a bigger scale is needed. I was embarrassed that it was incompatible with my new job. The change in my attitude happened during the production of Boris Godunov. My body started to be an additional instrument cooperating with my voice.
Tenors
“Maybe, it accelerated my debut in Viennese Opera. Its director, Loan Holender, who discovered decades ago one of the legendary three tenors — Spanish Jose Carreras, invited me to the prestigious theater. He is also, more or less, the official adviser of the cast in theaters such as the State Opera in Munich or Metropolitan in New York. As a result, I was ready after the presentation of Richard Strauss Salome.”
Metropolitan negotiated the performance of Tomasz in Wagner’s ‘Ring’ in 2019. His position is so high that since seven years ago, he has been a freelancer performing as a guest star on the best stages.
Years before, Wagner at his ‘shrine’ Bayreuth was reserved for German soloists only. Nowadays, music broke every limit. Tomasz will be the first Polish to perform there. NB: In Dresden, leading roles are booked for Russian soprano Anna Netrebko, Polish tenor Piotr Beczala and bass-barotine Tomasz Konieczny. Wagner is never more recognized as ‘a German saint’. His great-grandson, Gottfried, just wrote a very critical book about him. The German society became much differentiated and people used to respect their own, as well as other’s points of view, completely different than some other countries where some sources like to impose their opinion on others. National doesn’t mean better anymore. A piece of art has to protect itself not because of being put on pedestals. If it is not good enough, it will fall down anyway. This a good lesson for all.
OK. It looked worthwhile to notice and remember the name Tomasz Konieczny and search for his records. NB: I almost forgot: What is a bassbaritone? It is a special, rare kind of voice with very wide amplitude: ready to sing very low sounds and also almost as high as a baritone. It is typical for German repertoire and different from the Italian basso cantante.