Elzbieta Sikora


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…. Elzbieta Sikora`s score is sparkling, generous, often percussive and brassy - perhaps to get close to the dangerous luminosity of radium. Its energy infuses the title role, never getting weighed down with useless pauses. It is coloured with fine, lively touches, and often with deep, long and anguished sounds. The composer`s language, which mixes orchestra and electronic part, is expressive, rich and also poetic. Marie`s lament over the body of her dead husband, “Pierre, I want to tell you...” is a jewel of emotion and vocal grace. For Sikora`s vocal writing, though ample and emotive, is nonetheless coherent, combining the wild gesture with a pleasing melodious quality...
Chantal Cazaux

Madame Curie by Elzbieta Sikora

….Composed by Elzbieta Sikora with a libretto by Agata Miklaszewska, this opera, the result of two years work, is perhaps a demonstration of lyrical serialism with neo-romantic touches, fascinating in its richness, its color and the expressionism of its orchestration. The spectator is captivated by a score which follows the action very closely. The music speaks for itself, and contains very beautiful arias for the soloists. We could have understood the story without the words.
Christa Blenk Pettit

…Elzbieta Sikora’s engaging music fully exploits the different instrumental timbres, enriched by a large percussion group. The Gdansk Baltica Opera Orchestra responded to demanding writing and was firmly conducted by Wojciech Michniewski, who took care with the details and contrasts. From the beginning he set up an extreme dramatic tension without ever overpowering the vocal lines. Sikora’s lyricism is wide spread, and as intense as the glitter of radium even if it sometimes borders on an excess of sound. He directs an essentially Polish cast of a very high caliber which shows no weakness. In the title role, Anna Mikolajczyk is the ideal embodiment of this upright and stubbornly free personality ; her generous, and supple voice, comfortable in all registers, takes on this overwhelming role without hesitation and with a stunning effect. With her, Pawel Skaluba/Pierre Curie, Leszek Skrla/ Einstein and Tomasz Rak/Paul Langevin are partners of equal strength, with beautiful strong voices like those of Marie’s daughters and the female friends who assist and support her in the third act. The use of dance and video is not really relevant but the choir’s dramatic input - an excellent branch of the Gdansk Opera Baltica - surrounding the heroine during the whole performance as a hostile presence, creates moments of a great intensity, gathering up rhythm and space.
November 18th, 2011 par Michèle Tosi
La Scène, Opéra
Paris, Maison de l’UNESCO. 15-XI-2011

The sparkling percussion and restlessly shifting orchestral coloration of Elzbieta Sikora’s « Canzona » (1995) are similar refreshing. Ms. Sikora adds an exotic touch of her own : a lyrical ear-catching solo line for a Baroque throwback, the viola da gamba. Andrez Arceci brought a lovely tone to the line and matched the dramatic impulses that propelled the superb ensemble playing. Allan Kozinn “Embracing the Modern With Tone Clusters, Not Dissonance”,
Music Review of Focus Festival at Paul Hall and Alice Tully Hall, Juilliard School, N.Y. Times January 2011