News
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Dec 2020'Startling image' - review at WysokieObcasy.pl
Tomasz Domagała writes a strong review of “Unknown, I live with you” in Gazeta.pl
Dec 2020Awarded BUMA/Stemra grant
Honoured to receive investment grant for music “Investeringsfonds Muziek” of BUMA/STEMRA.
The grant is intended for the development of new music and new exploitation of existing music. I will be working on releasing music written for several theater works and some new pieces in a joined release “Vacationing Heart.“It is best described as melancholic piano music. Good for a rainy, gloomy pandemic time.
Oct 2020'reshapes operatic experience' Araszkiewicz on 'Unknown, I live with you'
Composer Kasia Głowicka’s music responds to this (…) perfectly: it is designed to express the monotony of oppression and the explosive moments of revolt. The sounds of the string quartet and live electronics interact through unsettling contradiction, playing out the story of abuse and vulnerability. In doing so, they push their performance towards a hymn that surprises with the tenderness and intimacy of the experience of fighting violence. “Unknown, I Live with You,” divided, fragmented, and perhaps with something killed inside me. However, my experience will always remain in you. It is uniquely carried by the statuesque and emotional voice of Polish opera star Małgorzata Walewska. Her performance brings an overwhelming sense of despair but also a peculiar tenacity. Californian singer and transgender woman, Lucia Lucas offers a rare and brilliant bass-baritone that intertwines with falsetto in a vital dialogue between a victim and executioner, bringing the disturbing effect of a disjointed and broken narrative. With her soft and captivating mezzo-soprano, the African-American singer Raehann Bryce-Davis goes beyond complaints and sufferings, and finally unites the tensions of this excellent dramaturgy in her song of freedom and inspiring dream.
Unknown, I Live With You by Katarzyna Głowicka and The Airport Society. Photo by Camille Cooken.
The opera-installation Unknown, I Live with You offers an interweave of sex, oppression, and singing that renews or shapes new traditions of opera. By performing various perspectives of minorities, its female heroines paradoxically not only sing their independent integrity and act out their intimate (hi)stories, they also become active agents of a larger, communal history. By doing so, they profoundly change this history’s deeply moving significance.
Agata Araszkiewicz
Sept 2020Publication on Broadway World
Broadway World features the award-winning composer, Kasia Głowicka’s radioplay drama entitled, “LILIAN.” This new radio play which was premiered last Friday, September 18 as part of the annual Warsaw Autumn cultural festival was based on a true story.
Lilian was based on real events documented in a 350-page transcript of WhatsApp conversations between a European professor of human rights and a refugee in Libya.
To know more about the publication, you may click this.
Sept 2020Review on The Theater Times
The Theatre Times reviewed “LILIAN,” a radioplay drama by an award-winning composer Głowicka. This was based on a true story using real WhatsApp message transcripts as its source material. It takes us into the lives of a refugee trapped in the notorious Zitan Detention Centre and the human rights professor who is trying to aid him from her home in Europe.
Sept 2020October
New season has opened, with planned several premieres. Warsaw Autumn festival premiered Kasia’s debut radio show “Lilian” which is also now released on digital streaming platforms, and later than month Kasia will begin collaboration with M13 foundation on music for a new movie. The upcoming projects include also release of “Music in 3 parts” and new commission for esteemed “Silesian Quartett”.
Jun 2020June
On June 26th Opera Vlaanderen and Ballet Vlaanderen will premiere Roxana’s Song - the newest, freshest collaboration of The Airport Society with Krystian Lada, in the scope of their online commission project ##imaginationisalive or #verbleedingsleeft.
Kasia embraced this challenge and has set the original, orchestral work of Karol Szymanowski (1882- 1937) to the pandemic proof version - a trio, with voice, oboe and flute, played in this recording by fantastic musicians of Antwerp Flemish National Opera and Ballet: Melanie Rosken, Arie van der Beek and Dagmara Dobrowolska. This poetic miniature was created with the intention that it will help our dear audience with the nostalgic longing of the human-nature connection. Several media outlets published favourable reviews, among others: Orfeo.com.pl and “Ruch Muzyczny”.
https://www.youtube.com/watch?time\_continue=12&v=rKbMs5a12Kk&feature=emb\_logo
Mar 2020March
March has been a busy month. In the beginning “The Airport Society” has been performing the opera “Unknown, I live with you” in the picturesque historic German town of Dessau, on invitation of the “Kurt Weill Festival”. And later that month, album “Unknown, I live with you”, with music from the critically acclaimed opera, is available on Spotify. Kasia has also been a guest speaker during “Capacity Triangle” - an initiative of European Composer and Songwriters Alliance.
Here, you can listen to the album
Photo @
Feb 2020February
Esteemed Polish mezzo-soprano, Małgorzata Walewska has been the star of the performance “Unknown, I live with you”, with her expressive, deeply moving performance she dominated the stage and captivated audiences. For her participation in Kasia’s project she has been nominated for prestigious, national “Olsnienia Cultural Awards” by Polish media company Onet . The CD has been jointly published and distributed by ARTEksounds and Bôłt Records.
Feb 2020Seeking the AirPort. An interview with director Krystian Lada
Featured in Kraków UNESCO City of Literature: Director Krystian Lada discusses the philosophy behind The Airport Society and why opera must confront difficult truths.
In a revealing interview with theatre critic Tomasz Domagała, published by Kraków UNESCO City of Literature, director and librettist Krystian Lada explores what it means to create opera that is both beautiful and critical—work that refuses to choose between aesthetic power and social relevance.
Lada challenges the false dichotomy that “opera can only be pretty and won’t teach us anything about the world, while critical art can teach us something but can’t be pretty.” His collaboration with composer Katarzyna Głowicka on Unknown, I Live With You proves opera can be both.
Working with texts by Afghan women who risk death for owning a pencil, Lada realized traditional directing wasn’t appropriate. “These are stories that cross the boundaries of our experience of reality,” he explains. Instead, the production documents the performers’ reactions to these testimonies.
When asked if the project empowers Afghan women, Lada clarifies it empowered everyone involved—from soprano Małgorzata Walewska to transgender singer Lucia Lucas to Black singers carrying their own stories of exclusion. Through Afghan women’s courage, the entire cast confronted “the archetypal exclusion of otherness from society.”
What does it mean to exist if you cannot tell your own story? How can art share voice and privilege with those who have been denied both?
Read the full interview on Kraków UNESCO City of Literature →
Interview conducted by Tomasz Domagała for the magazine accompanying the Opera Rara Festival, Krakow, 2020.
Feb 2020January
Preparations for the Polish premiere of “Unknown, I live with you” are on the way. The installation will have to be adapted to unique challenges of “Krikoteka” Theater. The performance will take part during Cracow festival “Sacrum Profanum”. Polish edition of “Vogue” Magazine and “Gazeta Wyborcza” have been encouraging its readers to check it out, while “Dwutygodnik” magazine published an exclusive article with Kasia about the mission of “The Airport Society” and the aims of the performance.
Jan 2020Dwutygodnik interview
Polish Magazine Dwutygodnik - interview and article on work of Glowicka. Kompozytorka z misją | Muzyka | Dwutygodnik | Dwutygodnik “Composer with mission” Wioleta Zochowska Fragment in Polish: WIOLETA ŻOCHOWSKA Projekty sceniczne Katarzyny Głowickiej wpisują się w coraz wyraźniejszą we współczesnej operze tendencję do tworzenia dzieł zaangażowanych społecznie N ajnowsza opera Katarzyny Głowickiej i Krystiana Lady „Unknown I Live With You” na pierwszy rzut oka wygląda dość skromnie. Rozgrywa się w półmroku i praktycznie pozbawiona jest scenografii oraz partii orkiestry. Ale też sprawdzonych rozwiązań, do których ostatnio przyzwyczajają nas twórcy sceniczno-muzyczni. To właściwie opera-instalacja, jak poprawia mnie podczas telefonicznej rozmowy kompozytorka. Pewne jest natomiast jedno: „Unknown I Live With You” zawiera najbardziej poruszające arie, jakie ostatnio słyszałam. Dziewięć utworów opowiadających o uciszaniu, tłamszeniu i upokarzaniu kobiet w ogarniętym wojną Afganistanie niedawno zostało wydanych przez wydawnictwo Bôłt Records na płycie. Problematyka kobieca coraz częściej przenika do współczesnej opery. Czy to już kres dominacji męskiej perspektywy? Jest jeszcze za wcześnie, żeby obwieścić sukces, jednak zmieniają się postaci kobiece, które dotąd wtłaczane były w stereotypowe role ofiar. Bohaterki większości dzieł w ponad 400-letniej historii gatunku to postaci nieme, tragiczne, tkwiące w potrzasku, skazane na śmierć bądź cierpienie. Kanwą dla libretta „Unknown I Live With You” stały się teksty czterech ukrywających się pod zmienionymi imionami poetek z Afganistanu: Royi, Freshty, Meeny Z. i Fattemah AH. Pomysł na wykorzystanie ich wierszy zrodził się, kiedy kilka lat temu Krystian Lada – nominowany do tegorocznego Paszportu „Polityki” – trafił na Afghan Women Writing Project (AWWP). Nowojorska inicjatywa założona w 2009 roku przez dziennikarkę Mashę Hamilton i wspierana przez lokalne działaczki miała na celu stworzenie platformy, za pośrednictwem której afgańskie kobiety – uciszane, tłamszone, upokarzane – mogły opisać swoje historie. Potajemne spotkania owocowały kolejnymi wpisami na stronie. Myśli przelewane na papier i przekazywane aktywistkom trafiały do sieci, gdzie znalazły swoją publiczność: uważnych czytelników i zaangażowanych komentatorów. Każdy mógł przesłać autorkom słowa wsparcia i otuchy, wystarczyło wejść na stronę projektu i zostawić komentarz. English: WIOLETA ŻOCHOWSKA Katarzyna Głowicka’s stage projects are in line with the growing tendency in contemporary opera to create works that are socially engaged. The newest opera by Katarzyna Głowicka and Krystian Lady “Unknown I Live With You” at first glance looks rather modest. It takes place in the twilight and is practically devoid of scenery and orchestra parts. But also proven solutions that we are getting used to recently by stage and music creators. It is actually an opera-installation, as the composer corrects me during a telephone conversation. It is certain, however one: “Unknown I Live With You” contains the most moving arias I have heard recently. Nine songs about silencing, suppressing and humiliating women in war-torn Afghanistan have recently been released on an album by Bôłt Records. More and more often, female issues are being transferred to contemporary opera. Is this the end of the domination of the male perspective? It is too early to announce success, but the female characters, who have so far been squeezed into the stereotypical roles of victims, are changing. The heroines of most of the works in the over 400-year history of the genre, they are mute, tragic, trapped characters, doomed to die or suffer. The lyrics of four Afghan poets hiding under the changed names of the poets: Royi, Freshty, Meeny Z. and Fattemah AH became the canvas for the libretto “Unknown I Live With You”. The idea to use their poems was born when Krystian Lada - nominated for this year’s Polityka’s Passport - found his way to the Afghan Women Writing Project (AWWP). A New York-based initiative founded in 2009 by journalist Masha Hamilton and supported by local activists, aimed to create a platform through which Afghan women - being silenced, suppressed, humiliated - could tell their stories. Secret meetings resulted in more entries on the website. Thoughts put on paper and passed on to activists went online, where they found their audience: attentive readers and committed commentators. Everyone could send the authors words of support and encouragement, it was enough to go to the project website and leave a comment.
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Jan 2020'Unknown, I live with you' ranked best in season.
“Unknown I live with you” ranked best of 2018/2019 season in the music theater category by Polish “Teatr” magazine http://www.teatr-pismo.pl/…/najlepszy,_najlepsza,_naj…/2019/
Jan 2020'A Composer with a Mission': Dwutygodnik Explores Katarzyna Głowicka's Socially Engaged Opera
Featured in Dwutygodnik: Music critic Wioleta Żochowska examines how Katarzyna Głowicka’s work represents a growing trend in contemporary opera—art that refuses to separate beauty from social responsibility.
In her article “Kompozytorka z misją” (A Composer with a Mission), published in the respected Polish cultural magazine Dwutygodnik, Żochowska explores Głowicka’s latest opera-installation Unknown, I Live With You and what it reveals about the future of opera as a form of social engagement.
Key Insights from the Article
The Most Moving Arias Recently Heard: Żochowska begins with a striking claim—that the nine pieces comprising Unknown, I Live With You contain “the most moving arias” she’s heard recently. Despite the work’s modest appearance—minimal staging, no orchestra, performed in semi-darkness—its emotional impact is undeniable.
Words as Material: Głowicka is described as an artist “sensitive to the weight of words.” Her 2005 album “Seven Sonnets” set Shakespeare’s love poems to sparse arrangements of string quartet and electronics. In her music, minimalism of means, authenticity, and clarity of position are paramount.
Western Instrumentation for Afghan Stories: As a composer rooted in Western European culture, Głowicka deliberately chose familiar instrumentation—string quartet and electronics—rather than traditional Afghan instruments. This choice was both practical (mobility) and philosophical (authenticity to her own cultural position while adding her world to these stories).
Electronics as Live Response: Using custom algorithms, Głowicka creates synthesized sound layers that follow performers in real-time. In “A World of Luck,” she generates progressive chords; in “I Thought It Was a Dream,” she spatializes sounds of ticking bombs and body sounds, moving with or away from the singer as the drama unfolds.
Voice as Revolutionary Power: The article emphasizes how giving voice creates agency. As Żochowska notes, those who speak are usually those who hold power. Voice can help win that power. The opera’s heroines become seeds of revolution, carriers of equality.
Opera’s Shifting Focus: Głowicka’s projects exemplify contemporary opera’s growing tendency to shift emphasis from purely artistic values toward conveying socially significant ideas and sending impulses that call for action.
A Natural Evolution: When asked about the evolution in her work, Głowicka responds: “The turn toward socially engaged music is a natural stage of my development as a composer, and also a consequence of responding to today’s reality.”
The Mission
Żochowska describes Głowicka as “a composer with a mission”—someone who not only creates but also works with social organizations and teaches art-related subjects at business schools. She seeks the appropriate language to describe pressing issues: social inequality, discrimination against women, violence, the refugee crisis. The goal is to create work that has a chance to shake the consciousness of audiences—just as the stories of Afghan women do.
The article also reveals Głowicka’s next project: the story of a man who lived in a refugee camp in Libya, who has already expressed his desire to meet and familiarize himself with the emerging work.
Read the full article in Dwutygodnik →
Published in Dwutygodnik, January 2020. Written by Wioleta Żochowska, music critic and curator who collaborates with “Glissando” and “Ruch Muzyczny” and programs the “Experimental Tuesdays” contemporary music series at Sinfonia Varsovia.
Article created in cooperation with the Kraków Festival Office, organizer of the Sacrum Profanum festival.
Nov 2019November
In the beginning of last month, Kasia’s new piece for “Farewell River”, commissioned by “Sacrum Profanum” festival has been premiered by a fantastic accordion duo “ACCORDRONE.
This month has also brought several publications - new book by “Krytyka Polityczna” publishing house, with Kasia’s contribution, as well as publication about the new opera “Unknown, I live with you” at the esteemed New York based magazine “Theater Times”.
Oct 2019Book - We called it utopia
Esteemed Polish publishing house “Krytyka Polityczna” (Political critics) has published, together with festival “Sacrum Profanum” a new book, with among others interview with Kasia.
“We called it utopia” - initiative of Sacrum Profanum and publishing house Krytyka Polityczna. Edited by Jan Topolski.
Here link to the book.
Aug 2017Review at African Paper
“Seven Sonnets” reviewed by “African Paper” - online magazine from Germany.
Jul 2017Glowicka at “Heroines of Sound” Berlin
Piece “Sun spot” was featured at Berlin’s festival “Heronies of Sound” at Radialsystem, Berlin.
Mar 2017Favola during Insomnio night at Tivolivredenburg, Utrecht
In 2017 Insomnio ensemble celebrates its twentieth anniversary! On Friday, April 21, therefore, we will have a grand musical marathon from 19:00 to 3:00 am at various locations in TivoliVredenburg. It will be a night full of highlights from the 20th and 21st century music. Insomnio night also provides opportunities to actively participate, including a performance by amateur ensemble NOOM and a karaoke version of Die Dreigroschenoper. Ticket sales have started, through the TivoliVredenburg website!
Feb 2017Women create opera - discussion and concert at Poznan Grand Theater
On Saturday 18 February at. 16:00 at the Grand Theatre in Poznan, UNITED STATES OF OPERA foundation, invites for an extraordinary meeting - “WOMEN CREATE OPERA”.
Among the guests Katarina Głowicka, Marzena Diakun and Elżbieta Sikora and . During the meeting soprano Joanna Freszel will present selection of contemporary pieces. The talk will be led by Monika Pasiecznik and Krystian Lada.
United States Opera is a new series of meetings with the public devoted to the current state of Polish opera stage. Before each launch of the Opera House in Poznan, excellent artists, journalists, scientists and invite the audience to discuss issues related to opera and classical music in the contemporary socio-cultural context. The ambition of the series is the location of opera on the map of current events and trends. Each meeting is devoted to a different aspect of the opera. The initiator and curator of the cycle is a playwright Krystian Lada.
Oct 2016'Seven Sonnets'reviewed by Jazznmore
Yet another review of “Seven Sonnets”. This time in the September issue of swiss magazine Jazznmore. below translation of a fragment: “The fascinating tension of Glowicka’s compositions comes from the contrast between the old-time sound of the Contertenor, the classical arranged string quartet and the almost timelessly spherical-sounding electronic collages, which portray the historically evocative texts into an atmospheric dimension and shake new, contemporary meanings to Shakespeare’s texts.”
Oct 2016Polish “Lizard Magazine” on “Seven Sonnets”
“Seven Sonnets” reviewed in progressive music magazine “Lizard” from Poland with 8/10.
“the most beautiful is the culmination of the disc with minimalist, hardening at a moment in time thanks to the electronic effects of the strings”
Lizard is the only Polish magazine devoted to the broader progressive music. Authors are looking for and describe everything in the music fresh, interesting and creative, both in the past and in the present.
Sept 2016Italian magazine “Blow up” on “Seven Sonnets”
Italian avangarde music magazine“Blow up” writes on emotionality and dialectics of the album “Seven Sonnets” in the September issue. The Sonnets received favorable review by Dionisio Capuano.
Blow Up is a monthly Italian magazine about “rock & other contaminations”, as the caption states: out rock, electronica, techno, house, experimental, industrial, improv/jazz, traditional.
Cd “Seven Sonnets” has been recorded with Rubens Quartet and contratenore Arnon Zlotnik.
Aug 2016Italian magazine 'Neural' reviews 'Seven Sonnets'
“Glowicka has masterfully led the musical project on a suspended ridge between tradition and modernity.”
Read here review at Italian “Neural” magazine.
Aug 2016'Neural' reviews Seven Sonets
August issue of Neural magazine features review of Seven Sonnets. Fragment:
Between romantic hints and spiritual environments, the seven tracks are all very enjoyable. The composer is no stranger to the melting pot of different cultural areas, with collaborations between theater and music. Indeed, Glowicka has shared stages in the past with choreographers and visual artists and is absolutely at ease with all references, having developed the project so long. Over the centuries William Shakespeare has always fascinated legions of other artists – and, not surprisingly, his sonnets were also set in pop guise by David Gilmour of Pink Floyd – however, the suggestions here are much intense and significant and they bring us closer and more directly in contact with the original work.
Jul 2016Belgian online magazine “Darkentries” reviews “Seven Sonnets”
Technically, this neoclassical, but it is not ‘warm’ neoclassical where you see the fairies flutter on a sunny summer day on the grass. This is chilly neoclassical, as a heavy walk through the snow from the icy north wind in.
newest CD “Seven Sonnets” is reviewed at darkentries.be
Dark Entries is an independent online music magazine that’s keen on all forms of dark music: goth, electro, new wave, avant-garde, neo-folk, industrial .
Jun 2016'Unknown woman' on The Guardian 'pick of the week'
Music theatre piece of Melanie Wilson co-composed with Glowicka has been on “The Guardian’s” pick of the week. Melanie Wilson reimagines the operatic form in Opera for the Unknown Woman at the Lawrence Batley, Huddersfield, as part of the Yorkshire festival, which also has lots of street theatre over the next few days.
Jun 2016The Guardian on 'Unknown': Arias of engagement: why women take centre stage in my new opera
Featured in The Guardian: Sound artist Melanie Wilson explains why her eco-feminist opera challenges opera’s sexist tradition—and how composer Katarzyna Głowicka helped create musical worlds that map human thought onto cosmological time.
In a powerful essay published by The Guardian in June 2016, Melanie Wilson shares the creative vision behind Opera for the Unknown Woman—a science-fiction opera about women saving humanity from climate change, featuring music composed in collaboration with Katarzyna Głowicka.
Key Insights from the Article
From Inspiration to Manifesto: Wilson’s journey began with Maggi Hambling’s painting Gulf Women Prepare for War, which challenged Western visions of Middle Eastern women as passive and non-political. The painting electrified her with questions: How far should women go to take power denied them? How can women share knowledge across cultures? How can artists talk openly about wresting power from oil and money?
Opera as Revolutionary Tool: Wilson chose opera specifically for its ability to harness “the galvanising power of the singing voice to make an emotional connection” with audiences about planetary crisis. As she writes, “Opera is the art form that deals with the emotional lives of characters who are often ensnared by patriarchal social or political bonds, and therefore provides fruitful musical and political ground to experiment on.”
The Głowicka Collaboration: Wilson describes working with Katarzyna Głowicka to create “musical worlds that map the fragile detail of human thought on epic vistas of cosmological time.” The score weaves sonic worlds from contemporary classical opera through folk and world music, marrying digital electronic processes with contemporary classical instrumentation.
Eleven Women, Global Voices: The opera places experiences of 11 women from around the world side by side—a climate science journalist from Jamaica, a graffiti artist from Tunisia, a farmer from Ghana, an education reformer from India, a feminist activist from China. They range from young to old, working and middle class, all challenging patriarchy and the dominance of money.
A New Iconography for Women: Wilson makes a crucial point: “There is great effort and trial for my characters, but they do not die. This is important, because we need a broad iconography for women that exceeds sacrifice and waste.” She’s creating new myths and musical aesthetics that move “from a female voice that suffers to a female voice that speaks up and out.”
Enacting Female Power: The production was created with a team that is 95% female. As Wilson states: “I don’t want to only talk about female power—I want to enact it.”
Language and Change: The opera finds the roots of change in language itself, particularly “the toxicity of the words ‘nature’ and ‘natural’ when used to contain and punish women.” It sees transformation in women collaborating, contesting how they see themselves and are seen by others.
Why This Matters
Wilson’s essay articulates a philosophy that resonates throughout contemporary opera: “As a female artist, it is depleting and silencing to wait to be given a chance to create something. You just have to do it.” Her collaboration with Głowicka demonstrates how composers and directors can repurpose opera—historically a male narrative tool—for urgent contemporary needs.
The piece operates under the credo “small changes unlock power,” creating what Wilson calls “a manifesto for the present” rather than utopian fiction. It’s a rallying cry that allies female empowerment and social equality with our ability to tackle climate change.
Read the full article in The Guardian →
Published in The Guardian, June 8, 2016
Written by Melanie Wilson, sound artist and directorOpera for the Unknown Woman premiered at Wales Millennium Centre’s Festival of Voice, June 8-12, 2016, then toured through June-August 2016.
May 2016Belgian 'Rifraf' reviews 'Seven Sonnets'
Upcoming edition of Belgian music magazine ‘Rifraf’ from 16.05.2016 reviews ‘Seven Sonnets’. In the section “Love on the bits” a short review by Fabrice Vanoverberg.
Below an excerpt:
“with extraordinary strength of conviction Glowicka manages to take us into the century of Shakespeare, and that without sounding stuffy or overly intellectual.”
For more, read Rifraf Magazine, Belgium
May 2016Premiere of 'Opera for the unknown woman' approaching
With co-composer and director Melanie Wilson and “Fuel” company we are working on new production - “Opera for the Unknown Woman” Opera for the Unknown Woman is a bold re-imagining of the operatic form, weaving together theatre, contemporary classical music, electronics and film. The talented ensemble includes Patricia Rozario OBE and Adey Grummet (Jerry Springer the Opera, Mr Burns). This science fiction, multi-media opera channels a performance of vivid imagination and passionate politics into an exhilarating call to action. Produced by Fuel (http://www.fueltheatre.com) Commissioned by Wales Millennium Centre for Festival of Voice and Yorkshire Festival in association with Warwick Arts Centre. Funded by Arts Council England & Arts Council Wales. Supported by the Fidelio Trust and Hinrichsen Foundation. Development commissioned by Warwick Arts Centre and funded by Arts Council England & PRSF for Music Foundation. Developed in association with Opera North Projects.
