Press
This was perhaps the best musical performance I have heard from the Polish Royal Opera so far. The conductor Lilianna Krych managed to weave a delicate and extremely fragile web of sound from the chamber ensemble in the pit.
Aleksander Laskowski, Opera Magazine, o “Gwałcie na Lukrecji” (2021)
Another woman decided about the success of this outstanding performance: Lilianna Krych, who was leading the musicians of the Polish Royal Opera to show the richness of Benjamin Britten’s score.
Jacek Marczyński, Ruch Muzyczny, o “Gwałcie na Lukrecji” (2021)
for Britten has the gift of making the speech of music intelligible when words fail. Meanwhile, Lilianna Krych very carefully brought out these statements of the instruments from the orchestra. (…)
Małgorzata Komorowska, teatralny.pl, o “Gwałcie na Lukrecji” (2021)
And finally, all this, the whole complex musical tissue that was under the reliable baton of Lilianna Krych. One can speak of the performance of Benjamin Britten’s opera The Rape of Lucretia in superlatives.
Joanna Tumiłowicz, maestro.net.pl, o “Gwałcie na Lukrecji” (2021)
Britten’s beautiful music, sparkling with a multitude of references to Purcell, Schoenberg or even at times to Verdi or Rossini, interpreted by Liliana Krych (musical direction), who can bring out both beauty and simplicity, as well as not missing anything from the composer’s artistry, perfectly harmonized with all of them. the director’s stage solutions (…)
Wiesław Kowalski, Teatr dla wszystkich, o “Gwałcie na Lukrecji” (2021)
Distinctively colored, pulsating chords born of spectral constructions, returns of solid notes, rooting the sound, from which they bounce and return to which melodic gestures return. But also the breath metaphor, which best reflects the essence of cyclicality. The Music Cooperative run by Lilianna Krych did her homework and did an excellent job in the lessons.
Magdalena Stochniol, Ruch Muzyczny o “Professor Bad Trip” (Kraków 2021)
Best Opera Performance
1 / The Rape of Lucretia, Benjamin Britten, musical direction: Lilianna Krych, dir. Kamila Siwińska, Polish Royal Opera in Warsaw, premiere: June 2021, minimalist staging showing the greatness of an intimate piece by the British composer. Concentration, simple means of expression, counterpointing many of today’s opera performances full of pathos and simplifications.
Benjamin Paschalski, kulturalnycham.com.pl , 2021
The POK is rightly proud of its soloists and the performers of Cyrulik fulfilled the innovative ideas of the twenty-four-year-old Rossini with joyful verve: rapid tirades on one note or the dynamic swelling of the final ensembles so long that the audience was tossed from their seats. They did it in accordance with Lilianna Krych’s baton, and because we live in an age of total exaggeration, this baton dictated to voices and instruments a piano on the verge of silence (for example, strings in their pizzicats), it is again the maximum forte in sharp tutti accents. Already the famous overture had its stage counterpart: busy characters were preparing the playing area, while the center was filled with a replica of the cover of the Parisian satirical weekly Le Hanneton [beetle] with a caricature of Rossini created during his lifetime. The small, living hands (of the actor Wojciech Pałęcki) protruding from the large drawing set the pace to the music with their gestures. The musical storm was great: the orchestral intermedium in Act II. It started with the brushing of the strings and ended the same, like raindrops. And inside, the lights of lightning flew, the machine of the wind pounded, and the cauldrons thundered madly.
Małgorzata Komorowska, teatralny.pl, o “Cyruliku Sewilskim” (2020)
Musicians from the Contemporary Ensemble Cooperative, who prepared the performance under the direction of conductor Lilianna Krych, also brought out fleeting fluttering, vibrations and sighs from the instruments. And the audience held their breaths so as not to disturb the mysterious mystery that was unfolding on the stage.
Małgorzata Komorowska, teatralny.pl o “Luci mie traditrici” (2016)
Press
This was perhaps the best musical performance I have heard from the Polish Royal Opera so far. The conductor Lilianna Krych managed to weave a delicate and extremely fragile web of sound from the chamber ensemble in the pit.
Aleksander Laskowski, Opera Magazine, o “Gwałcie na Lukrecji” (2021)
Another woman decided about the success of this outstanding performance: Lilianna Krych, who was leading the musicians of the Polish Royal Opera to show the richness of Benjamin Britten’s score.
Jacek Marczyński, Ruch Muzyczny, o “Gwałcie na Lukrecji” (2021)
for Britten has the gift of making the speech of music intelligible when words fail. Meanwhile, Lilianna Krych very carefully brought out these statements of the instruments from the orchestra. (…)
Małgorzata Komorowska, teatralny.pl, o “Gwałcie na Lukrecji” (2021)
And finally, all this, the whole complex musical tissue that was under the reliable baton of Lilianna Krych. One can speak of the performance of Benjamin Britten’s opera The Rape of Lucretia in superlatives.
Joanna Tumiłowicz, maestro.net.pl, o “Gwałcie na Lukrecji” (2021)
Britten’s beautiful music, sparkling with a multitude of references to Purcell, Schoenberg or even at times to Verdi or Rossini, interpreted by Liliana Krych (musical direction), who can bring out both beauty and simplicity, as well as not missing anything from the composer’s artistry, perfectly harmonized with all of them. the director’s stage solutions (…)
Wiesław Kowalski, Teatr dla wszystkich, o “Gwałcie na Lukrecji” (2021)
Distinctively colored, pulsating chords born of spectral constructions, returns of solid notes, rooting the sound, from which they bounce and return to which melodic gestures return. But also the breath metaphor, which best reflects the essence of cyclicality. The Music Cooperative run by Lilianna Krych did her homework and did an excellent job in the lessons.
Magdalena Stochniol, Ruch Muzyczny o “Professor Bad Trip” (Kraków 2021)
Best Opera Performance
1 / The Rape of Lucretia, Benjamin Britten, musical direction: Lilianna Krych, dir. Kamila Siwińska, Polish Royal Opera in Warsaw, premiere: June 2021, minimalist staging showing the greatness of an intimate piece by the British composer. Concentration, simple means of expression, counterpointing many of today’s opera performances full of pathos and simplifications.
Benjamin Paschalski, kulturalnycham.com.pl , 2021
The POK is rightly proud of its soloists and the performers of Cyrulik fulfilled the innovative ideas of the twenty-four-year-old Rossini with joyful verve: rapid tirades on one note or the dynamic swelling of the final ensembles so long that the audience was tossed from their seats. They did it in accordance with Lilianna Krych’s baton, and because we live in an age of total exaggeration, this baton dictated to voices and instruments a piano on the verge of silence (for example, strings in their pizzicats), it is again the maximum forte in sharp tutti accents. Already the famous overture had its stage counterpart: busy characters were preparing the playing area, while the center was filled with a replica of the cover of the Parisian satirical weekly Le Hanneton [beetle] with a caricature of Rossini created during his lifetime. The small, living hands (of the actor Wojciech Pałęcki) protruding from the large drawing set the pace to the music with their gestures. The musical storm was great: the orchestral intermedium in Act II. It started with the brushing of the strings and ended the same, like raindrops. And inside, the lights of lightning flew, the machine of the wind pounded, and the cauldrons thundered madly.
Małgorzata Komorowska, teatralny.pl, o “Cyruliku Sewilskim” (2020)
Musicians from the Contemporary Ensemble Cooperative, who prepared the performance under the direction of conductor Lilianna Krych, also brought out fleeting fluttering, vibrations and sighs from the instruments. And the audience held their breaths so as not to disturb the mysterious mystery that was unfolding on the stage.
Małgorzata Komorowska, teatralny.pl o “Luci mie traditrici” (2016)