In this issue, the Theatre Around the World rubric takes us to Poland’s capital, Warsaw. The history of Warsaw, the capital of Poland, is a fascinating journey that spans over a thousand years. Warsaw’s beginnings can be traced back to the 9th or 10th century when a fishing village was established on present-day Warsaw. 

The origins of the National Opera can be traced back to 1778 when King Stanisław August Poniatowski founded the Warsaw Opera House. The first performances took place in the Ostrogski Palace. The theater initially hosted Italian opera productions and ballets, becoming an essential part of Warsaw’s cultural scene. The original opera house was destroyed by fire in 1830 during the November Uprising. However, it was rebuilt and reopened in 1833.

For over 170 years the Teatr Wielki has been Poland’s grandest opera and ballet theatre. It was built in 1825–1833 to a design by the Italian architect Antonio Corazzi of Livorno. The building was remodeled several times and, in the period of Poland’s political eclipse from 1795 to 1918, it performed an important cultural and political role in producing many works by Polish composers and choreographers.

Polish Opera

Poland’s earliest encounters with opera were primarily through foreign influence. Italian and French opera troupes performed in Polish cities, leaving a significant impact on the local music scene. During this period, composers such as Marco Scacchi and Stefano Bernardi presented the first operatic works in Poland, blending elements of Italian and French styles. The 19th century marked a period of heightened nationalism in Poland, as the country fought for its independence. This spirit of national identity also influenced the arts, including opera. Composers sought to incorporate Polish folk elements, historical themes, and national legends into their operatic works. One of the prominent composers of this era was Stanisław Moniuszko, often referred to as the “father of Polish opera”.

It was in the new theatre that Stanisław Moniuszko’s two best-known operas received their premieres: the complete version of Halka (1858), and The Haunted Manor (1865). After Frédéric Chopin, Moniuszko was the greatest figure in 19th-century Polish music, for in addition to producing his own works, he was director of the Warsaw Opera from 1858 until his death in 1872.

While director of the Grand Theatre, Moniuszko composed The Countess, Verbum Nobile, The Haunted Manor, and Paria. 

The theatre presented operas by Władysław Żeleński, Ignacy Jan Paderewski, Karol Szymanowski, and other Polish composers, as well as ballet productions designed by such choreographers as Roman Turczynowicz, Piotr Zajlich, and Feliks Parnell. At the same time, the repertoire included major world opera and ballet classics, performed by the most prominent Polish and foreign singers and dancers.

During the 1939 battle of Warsaw, the Grand Theatre was bombed and almost completely destroyed, with only the classical façade surviving. During the Warsaw Uprising of 1944, the Germans shot civilians in the burnt-out ruins. The plaque to the right of the main entrance commemorates the suffering and heroism of the victims of fascism.

From 1945–1965 the company performed on other stages while the theatre building was being restored and expanded according to designs by Bohdan Pniewski, under the supervision of Arnold Szyfman. When the restored theatre was opened to the public on November 19th, 1965, it was one of the most imposing and best-equipped state-of-the-art theatres in Europe. The Polish National Opera was the largest theatre in the world.

The Teatr Wielki has a main stage in the Moniuszko Auditorium which seats 1,828, and a small stage in the Młynarski Auditorium seating 248. The architecture of the Teatr Wielki reflects the cultural aspirations of 19th-century Polish society and stands as a testament to Poland’s rich artistic and architectural heritage.

The theater’s façade is characterized by its neoclassical design, a style inspired by classical Greek and Roman architecture. It features a symmetrical layout with a grand entrance in the center, flanked by tall Corinthian columns on either side. The façade is made of stone and is adorned with ornate carvings and sculptures. According to Antonio Corazzi’s 1825 plans, the Grand Theatre’s front façade was meant to feature a triumphal sculpture of Apollo, patron of the arts, driving a chariot drawn by four horses. However, the defeat of the November Uprising caused the idea to be abandoned. The platform above the main entrance meant for the quadriga remained empty for nearly 200 years. Finally, in 2002, at the initiative of the Grand Theatre’s then-general director, Waldemar Dąbrowski, the sculpture that had been envisioned many years earlier came to adorn the façade.

The most striking feature of the Teatr Wielki’s façade is its grand portico, which extends from the main entrance and is supported by six Corinthian columns. The portico creates a sense of grandeur and serves as an impressive focal point of the building.