From innocent infatuation to a feeling that drives one toward great deeds \u2013 love is a universal theme, and thus so often chosen by poets and, following their lead, composers of all eras. It resonates particularly strongly in music written for the most natural of instruments \u2013 the human voice.<\/p>\n\n\n\n
The concert of choral compositions will open with the first in a cycle of motets by the master of Renaissance polyphony, Giovanni Pierluigi da Palestrina, written to texts from the Song of Songs<\/em>. The sensual mystery of one of the most extraordinary biblical books flows between the individual voices, uniting them into one mystical whole. Orlando di Lasso achieved the extraordinary ability to convey poetic content through the language of music, exemplified both by the madrigal Suna fede amorosa<\/em> to the words of Petrarch, and the playful song Matona mia cara<\/em>, a perfect parody of a German attempting to charm his lady love with his questionable linguistic skills. Luca Marenzio also stood out for his particular sensitivity to the word, conveying in his varied works not only the general mood of superb Italian poetry, but also illustrating the meaning of individual words and phrases through sound.<\/p>\n\n\n\n The madrigal tradition remained alive in the early Baroque, for instance, in the works of Alessandro Scarlatti, while the theme of love appears with full intensity in the Romantic era \u2013 in compositions by Mendelssohn or Brahms.<\/p>\n\n\n\n The program will also feature English music. We will hear John Dowland\u2019s Can she excuse me<\/em>, set in the rhythm of a galliard, along with the plaintive supplication Lay a Garland<\/em> by Robert Lucas Pearsall, and the brilliant composition The Blue Bird<\/em> by Sir Charles Villiers Stanford, who so often drew on the musical past. This composer is also remembered as an outstanding teacher, and his interest in traditional folk music undoubtedly inspired the folkloric explorations of his students, including Gustav Holst.<\/p>\n\n\n\n A sort of homage to the glory of early vocal music is offered by the French compositions included in the program. Maurice Ravel wrote his Nicolette<\/em> in the style of a 16th-century chanson, and the influence of Renaissance masters can also be seen in Claude Debussy\u2019s song Dieu! qu\u2019il la fait bon regarder<\/em> and the dreamlike Romance du soir<\/em> by Camille Saint-Sa\u00ebns.<\/p>\n\n\n\n The concert program concludes with a Polish accent \u2013 Ko\u0142ysanka<\/em> (“Lullaby”) by Jan Adam Maklakiewicz. Its simple strophic form and charming melody perfectly convey the depth of a feeling that brings hope: the song was composed to a poem written by Konstanty Ildefons Ga\u0142czy\u0144ski in a prisoner-of-war camp, addressed to his wife.<\/p>\n\n\n\n Giovanni Pierluigi da Palestrina \u2013 Osculetur me<\/em> <\/p>\n\n\n\n THE CHAMBER CHOIR OF THE POLISH ROYAL OPERA<\/strong><\/p>\n\n\n\n RENATA SZCZYPIOR<\/strong> CONDUCTOR <\/p>\n\n\n\n Duration: approx. 1h<\/p>\n\n\n\n The seats in the auditorium are not numbered.<\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" From innocent infatuation to a feeling that drives one toward great deeds \u2013 love is a universal theme, and thus so often chosen by poets and, following their lead, composers of all eras. It resonates particularly strongly in music written for the most natural of instruments \u2013 the human voice. The concert of choral compositions […]<\/p>\n","protected":false},"author":15,"featured_media":35778,"template":"","meta":{"_acf_changed":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[1,21],"cykle":[112,111],"sezon":[105],"class_list":["post-41156","repetoire","type-repetoire","status-publish","has-post-thumbnail","hentry","category-bez-kategorii","category-uncategorized","cykle-cantemus-season-2025-2026","cykle-cantemus-sezon-2025-2026","sezon-2025-2026-2"],"acf":[],"yoast_head":"\nPROGRAM<\/h4>\n\n\n\n
Orlando di Lasso \u2013 Matona mia cara <\/em>(lyrics Anonymous)
Orlando di Lasso \u2013 S\u2019una fede amorosa<\/em> (lyrics F. Petrarca)
Luca Marenzio \u2013 Vienne, Montan<\/em> (lyrics J. Sannazaro)
Luca Marenzio \u2013 Amatemi ben mio <\/em>(lyrics T. Tasso)
Luca Marenzio \u2013 Zefiro torna<\/em> (lyrics F. Petrarca)
Luca Marenzio \u2013 Al primo vostro<\/em> (lyrics Anonymous)
John Dowland \u2013 Can she excuse my wrongs<\/em> (lyrics Anonymous)
Alessandro Scarlatti \u2013 Ars\u00ec un tempo<\/em> (lyrics T. Stanzani)
Felix Mendelssohn \u2013 Entflieh\u2019 mit mir und sei mein Weib<\/em> Op. 41 No. 2 (lyrics H. Heine)
Johannes Brahms \u2013 In stiller Nacht<\/em> z Deutsche Volkslieder<\/em> WoO 34 (lyrics Anonymous)
Charles Villiers Stanford \u2013 The Blue Bird<\/em> Op. 119 No. 3 (lyrics M.E. Coleridge)
Robert Lucas Pearsall \u2013 Lay a Garland<\/em> (lyrics F. Beaumont and J. Fletcher)
Gustav Holst \u2013 I Love My Love<\/em> z Six Choral Folk Songs<\/em> Op. 36b (lyrics trad.)
Camille Saint-Sa\u00ebns \u2013 Romance du soir<\/em> Op. 118 (lyrics J.L. Croze)
Claude Debussy \u2013 Dieu! qu\u2019il la fait bon regarder<\/em> (lyrics Ch. d’Orl\u00e9ans)
Maurice Ravel \u2013 Nicolette <\/em>from the cycle Trois Chansons<\/em> (lyrics M. Ravel)
Jan Adam Maklakiewicz \u2013 Ko\u0142ysanka<\/em> (lyrics K.I. Ga\u0142czy\u0144ski)<\/p>\n\n\n\nPERFORMERS<\/h4>\n\n\n\n
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