Imagination, Evocation, Incantation, Association for a female voice, male voices and musical instruments


Musical poem with a libretto based on texts by Jan Lechoń


PREVIEW: 13th March 1999

Dome Hall in Groteska Theatre in Kraków

100th anniversary of birthday of Jan Lechoń (13.03.1899)

This poem invokes various elements of our cultural tradition - our national mosaic (historical images, characters, myths). They unfold in pictures, sometimes beautiful, sometimes funny, sometimes dramatic. The guide to Polish myths is music - or to be more precise - a musical theme, different, depending on time, situation, people, and in fact - still the same. Musicality and music in the performance are the driving force of the thoughts expressed - it is a medium transmitting reflections on old and contemporary Poland, and space, gesture and all stage activities - symbolic, abbreviated, metaphorical.


Literary and music scenario, directing, choreography – Jadwiga Leśniak-Jankowska

Music – Andrzej Zarycki

Costumes – Grażyna Żubrowska



Jadwiga Leśniak-Jankowska – percussion instruments

Marcin Grzymowicz – percussion instruments

Piotr Piecha – accordion, guitar, flute



Monia Gubała – cello

Mariola Śpiewak – clarinet


fot. Jan Zych


Church of the Holy Savior in Krakow

fot. Jan Zych


“The Crimson Poem” performed by the Scena EL-JOT Theatre, directed by Jadwiga Leśniak-Jankowska, is an exquisitely prepared evening of good poetry and chamber music, having little in common with the traditionally understood theater. It is professionalism and a very high bar for the audience, from which musical culture was demanded”.

Joanna Biernacka
Didaskalia No. 31/32
June / August 1999





“… In March 1999, “The Crimson Poem” had its premiere. Imagination, Evocation, Incatation, Association for a female voice, male voices and musical instruments with a libretto based on texts by Jan Lechoń. The performance, prepared on the occasion of the hundredth anniversary of the poet’s birth, showed his complicated attitude towards Poland, its history, myths, traditions, it was also an inquiry into the essence of beauty. Despite the shadow of the artist’s tragic biography falling on the texts, the performance shimmered with different colors of feelings and thoughts, just like Andrzej Zarycki’s music had a different mood. Music was an equivalent of historical time – like in Jankiel’s concert, through the story of happy and bloody times, there was a constant theme of the national tradition: this one, difficult to name, yet easily recognizable note. But there were also some elements of fun with music and words, which the Scamandrites liked so much. The exemplary professionalism of the performers perfectly served to convey the phenomenon of Lechoń: just like his poetry, the performance (even “out of date” in its subtlety) was both erudite and simple, classic – and full of romantic fervor. … ”


Anna Burzyńska
Didaskalia No. 36
April 2000