Selection stage:
- the recording shall contain pieces other than those entered for the competition, duration time no longer than 15 minutes.
- the recording must contain: 1 operatic aria of the candidate’s choice and 2 lieder in two different languages, different from one another and different from the language of the aria;
1st Stage - Selection / 15 minutes
The jury reserves the right to choose the pieces to be presented in the 1st stage.
The set of pieces to be performed by each participant shall be announced by the Jury an hour before the participant’s performance.
The participant decides about the order the pieces are performed in.
- an aria satisfying all the following conditions:
a. is part of an opera premiered from 1800 to 1840 (written by a composer of any nationality)
b. is representative of the belcanto technique
c. performance – in the original key
2. a piece by Witold Lutosławski in original key, to be chosen from the following
a. Lacrimosa version for soprano and organ / whole
b. Chantefleurs et Chantefables for organ and orchestra; words Robert Desnos, arr. for soprano and piano Eugeniusz Knapik / two songs to be chosen from the following
La belle-de nuit
La sauterelle
La Véronique
L’Eglantine, l’Aubépine et la Gycine
La tortue
La rose
L’alligator
L’Angélique
Le papillon
c. Lawina words A.S. Pushkin, trans. J. Tuwim – soprano or tenor
d. Nie dla ciebie words K. Iłłakowiczówna – soprano, mezzosoprano, or tenor
e. Pięć pieśni do słów Kazimiery Iłłakowiczówny for mezzosoprano and piano / two songs to be chosen from the following / performance by a countertenor is allowed
Morze
Wiatr
Zima
Rycerze
Dzwony cerkiewne
f. Paroles tissées for tenor and chamber orchestra; words Jean-François Chabrun, arr. for tenor and piano Edward Sielicki / one movement to be chosen
Un chat qui s’émerveille...
Quand le jour a rouvert les brances du jardin…
Mille chevaux hors d’haleine...
Dormez cette pâleur nous est venue de join …
g. Tarantella for baritone and piano; words. Hilaire Belloc / performance by a countertenor is allowed
or
Wojciech Kilar – from F. Petrarca’s „Sonnets for Laura” cycle trans. Jalu Kurek in original key – 1 song
Benedetto sia'l giorno
Era il giorno
Soleasi nel mio cor
E mi par d'or in ora
or
A song by H.M. Górecki in original key to be chosen from the following:
a. from the „Trzy pieśni do sł. M. Konopnickiej” op. 68 cycle – 2 songs to be chosen from the following
Przez te łąki , przez te pola
Kiedy Polska
U okienka, u mojego
b. from the „Śpiewy do sł. Juliusza Słowackiego” op. 48 cycle – 1 song to be chosen from the following
We łzach, Panie ręce podnosimy do Ciebie
Panie, o którym na niebiosach słyszę
c. from the „Dwie pieśni do sł. F. G. Lorki” trans. M. Bieszczadowski op. 42 cycle – 1 song
Nokturn
Malagena
d. from the „Trzy fragmenty do sł. S. Wyspiańskiego” op. 69 cycle – 1 song to be chosen from the following
Jakżeż ja się uspokoję
Może z mętów się dobędzie
Poezjo!
e. from the „Błogosławione pieśni malinowe” op. 43 cycle – 2 songs to be chosen from the following
Błogosławione pieśni malinowe
Co ranek skoro ustępują cienie
Litość
O! Boże
H. M. Górecki’s songs were published by Boosey & Hawkes in 2013
3. two songs satisfying all the following conditions / transpositions allowed (only if published)
a. sung in two different languages, different from the languages of the pieces presented previously
b. contrastive in mood
c. written by composers from early Romanticism to Neoromanticism
4. one song by Karol Szymanowski chosen by the participant, satisfying the following conditions
c. performance in the original key
b. must not be repeated in other stages of the competition
c. the language version may be a repetition of one of the language versions of the pieces presented in this stage (1st stage)
2nd stage / 20 minutes
Participants present the whole programme of the 2nd stage.
The participant decides about the order the pieces are perfomed in.
1. to be chosen from works by Karol Szymanowski no fewer than three songs, from any opus, or a whole cycle of songs, or a fragment of a cycle / performance in original keys
2. two songs in different languages chosen from the following composers’ works / in original keys
(alphabetical order)
Grażyna Bacewicz
Béla Bartók
Alban Berg
Luciano Berio
Lili Boulanger
Benjamin Britten
John Cage
Aaron Copland
George Crumb
Claude Debussy / except for Nuit d’étoiles and Mandoline
Artur Honegger
Jacques Ibert
Charles Ives
Leoš Janáček
Wojciech Kilar
Stefan Kisielewski
Zoltán Kodály
György Ligeti
Anna Mahler
Bohuslav Martinů
Olivier Messiaen
Paweł Mykietyn
Roxanna Panufnik
Hans Pfitzner
Poldowski [Irène Wieniawska]
Francis Poulenc
Prasqual
Sergei Prokofiev
Maurice Ravel
Ludomir Różycki
Arnold Schönberg
Igor Stravinsky
Georgy Sviridov
Dmitri Shostakovich
Paweł Szymański
Michael Tippet
Anton Webern
Mieczysław Weinberg
Alexander von Zemlinsky
Agata Zubel
3. one of the three pieces awarded in the composition competition [its performance time does not count in the performance time for the remainder of the programme to be performed in the 2nd stage]
3rd stage
1. one or more pieces arranged for voice and orchestra, duration time no longer than 8 minutes; (pieces different from those performed in the preceding stages)
a. Król Roger op. 46, libretto Karol Szymanowski and Jarosław Iwaszkiewicz, one of the following fragments:
Roksana’s Uśnijcie krwawe sny króla Rogera… aria from Act 2 (soprano)
Mój Bóg jest piękny jako ja… Shepherd’s song from Act 1 (tenor)
Hymn to the sun (Roger): Edrisi, już świt!...Słońce! Słońce! Edrisi… from Act 3 (baritone)
b. Trzy fragmenty z poematów Jana Kasprowicza op. 5, instrumentation Grzegorz Fitelberg /
1 hymn to be chosen from the following, different from any performed in a preceding stage (mezzosoprano, baritone, soprano spinto or countertenor)
Święty Boże
Jestem i płaczę
Moja pieśń wieczorna (Błogosławioną niech będzie ta chwila)
c. Penthesilea op. 18 for soprano and orchestra, words Stanisław Wyspiański
d. Des Hafis Liebeslieder für Gesang und Orchester/ Pieśni miłosne Hafiza for voice and orchestra op. 26, words Hans Bethge, translated into Polish by Stanisław Barącz (soprano, mezzosoprano, tenor, countertenor) / a selection – maximum duration approximately 8 minutes (songs different from the ones performed in a preceding stage).
Wünsche / Życzenia
Der verliebte Ostwind / Zakochany wiatr
Tanz / Taniec
Die Perlen meiner Seele / Serca mego perły
Jugend im Alter / Wieczna młodość
Deine Stimme / Głos Twój
Trinklied / Pieśń pijacka
Das Grab des Hafis / Grób Hafiza
e. Pieśni księżniczki z baśni op. 31 words Zofia Szymanowska (soprano) / a selection – maximum duration approximately 8 minutes (songs different from the ones performed in a preceding stage).
Samotny księżyc
Słowik
Taniec
f. Pieśni muezina szalonego op. 42, words Jarosław Iwaszkiewicz (mezzosoprano, tenor, coutertenor / a selection – maximum duration approximately 8 minutes (songs different from the ones
performed in a preceding stage)
Allah, Allah Akbar
W południe miasto białe
O tej godzinie
Odeszłaś w pustynię zachodnią
g. Słopiewnie op. 46 bis, words Julian Tuwim (soprano) / a selection – maximum duration approximately 8 minutes (songs different from the ones performed in a preceding stage)
Słowisień
Zielone słowa
Święty Franciszek
Kalinowe dwory
Wanda
h. Trzy kołysanki op. 48, words Jarosław Iwaszkiewicz (soprano or tenor)
instrumentation Jan Krenz
Pochyl się cicho nad kołyską
Śpiewam morzu, gwiazdom i tobie
Biały krąg księżyca olbrzymi
2. one operatic aria or scene from an opera, to be chosen from the following list:
for sopranos
Samuel Barber – Vanessa, libretto Gian Carlo Menotti
Act 1, Vanessa: Do not utter a word, Anatol...
Leonard Bernstein – Candide, libretto Lillian Hellman and Richard Wilbur after Voltaire
Act 1, Cunegonde: Glitter and be gay…
Leoš Janácek – Její pastorkyňa JW I/4, libretto Leoš Janácek after Gabriela Preissovea
Act 2, Jenůfa: To je mamin ina jizba…
Erich Wolfgang Korngold – Die tote Stadt op. 12, libretto Paul Schott
image 2, Marietta: Glück das mir verblieb…
Gian Calro Menotti – The Medium, libretto Gian Calro Menotti
Act 2, Monica’s Waltz: Bravo! And after the theatre…
Krzysztof Penderecki – Paradise Lost, libretto Christopher Fry after John Milton
Act 1, Eve’s dream: Adam, glad I see thy face…
Giacomo Puccini – Madame Butterfly, libretto Giuseppe Giacosa and Luigi Illica
Act 2, Cio-Cio-San: Un bel di, vedremo...
Giacomo Puccini - Turandot, libretto Giuseppe Adami and Renato Simoni
Act 1, Liú: Signore, ascolta...
Act 3, Liú: Tu, che di gel sei cinta...
Richard Strauss – Ariadne auf Naxos op. 60, TrV 228, libretto Hugo von Hofmannsthal
Zerbinetta: Grossmächtige Prinzessin… (pt 1)
Igor Stravinsky – The Rake’s Progress, libretto Wystan Hugh Auden and Chester Simon Kallman
Act 1, Anna: No word from Tom… (recitative, aria, cabaletta, recommended
edition – Boosey & Hawkes)
Mieczysław Weinberg – Passażirka, libretto Jurij Łukin and Aleksandr Miedwiediew after Zofia Posmysz
image 6, Marta: Wurde er mich rufen… (nos. 12-18 / ed. Peermusic Classical)
for mezzosopranos and altos
Benjamin Britten – The Rape of Lucretia op. 37, libretto Ronald Duncan after André Obey
Act 2, Lucretia: Give him this orchid… (nos. 51-77 / ed. Boosey & Hawkes)
Gian Carlo Menotti - The Consul, libretto Gian Carlo Menotti
Act 2, Mother: I shall find for you…
Francis Poulenc – Dialogues des carmélites op. 159, libretto Georges Bernanos
Act 2, Madame de Croissy: Relevez-vous, ma fille…
Richard Strauss – Der Rosenkavalier op. 59, TrV 227, libretto Hugo von Hofmannsthal
Act 1, Octavian: Wie du warst!...
Richard Strauss – Ariadne auf Naxos op. 60, TrV 228, libretto Hugo von Hofmannsthal
prologue, Composer: Sein wir wieder gut…
Igor Stravinsky – The Rake’s Progress, libretto Wystan Hugh Auden and Chester Simon Kallman
Act II, Baba the Turk: As I was saying … Scorned !..(nos. 152-187 / ed. Boosey & Hawkes)
for countertenors
Benjamin Britten – A Midsummer Night’s Dream op. 64, libretto Benjamin Britten, Peter Pears after William Shakespeare
Act 1, Oberon: Welcome wanderer!... (nos. 45-53 / ed. Boosey & Hawkes)
Philip Glass – Akhnaten op. 3, libretto Philip Glass and others
Act 1, Akhnaten: Tut wu-a yeri enti…
for tenors
Samuel Barber – Vanessa, libretto Gian Carlo Menotti
Act 1, Anatol: Outside this house…
Leoš Janácek – Její pastorkyňa JW I/4, libretto Leoš Janácek after Gabriela Preissova
Act 1, Laca Klemeň: Vy, stařenko…
Carl Orff - Die Kluge: die Geschichte von dem König und der klugen Frau, libretto Carl Orfa after the Grimm brothers
scene 6, Eselman: Weh mir, wie konnt’ mir das Geschehn
Giacomo Puccini - Turandot, libretto Giuseppe Adami and Renato Simoni
Act 3, The Unknown Prince (Calaf): Nessun dorma…
Igor Stravinsky – The Rake’s Progress, libretto Wystan Hugh Auden and Chester Simon Kallman
Act 1, Tom Rakewell: Here I stand... (nos. 27-46 / ed. Boosey & Hawkes)
or
Act 2, Tom Rakewell: Vary the song… (nos. 1-26 / ed. Boosey & Hawkes)
Act 3, Selem: Ladies, both fair and gracious… (nos. 43-65 / ed. Boosey & Hawkes)
or
Act 3, Selem: Behold it, Roman… (nos. 68 - 97 / ed. Boosey & Hawkes)
for baritones
Samuel Barber – Vanessa, libretto Gian Carlo Menotti
Act 2, The Old Doctor: You rascal you I never knew you had a soul…
Gian Calro Menotti – The Consul, libretto Gian Calro Menotti
Act 1, The Footman: Mrs. Sorel, your husband has many friends…
Erich Wolfgang Korngold – Die tote Stadt op. 12, libretto Paul Schott
image 2, Fritz: Mein Sehnen, mein Wähnen…
Sergei Prokofiev – War and Peace op. 91, libretto Sergei Prokofiev and Mira Mendelssohn after Leo Tolstoy
image 1, Prince Andrei Bolkonsky: Svetloje vesenneje nebo…
Igor Stravinsky – The Rake’s Progress, libretto Wystan Hugh Auden and Chester Simon Kallman
Act 2, Nick Shadow: Come, master, observe the host… (nos. 29 - 47 / ed. Boosey & Hawkes)