The death of Hanna Lisowska is a significant loss for the Polish opera community. A distinguished singer who shaped the face of the musical stage in the capital for decades, she will be remembered by audiences as an interpreter with an incredibly powerful voice and character. In recent years, her artistic legacy has been widely discussed, and now the news of her death has come as a shock to many lovers of this art form.
Lisowska's career on the domestic stage began over half a century ago. The artist debuted in 1967 at the Grand Theatre in Warsaw, taking on the role of Tatiana in Piotr Tchaikovsky's "Eugene Onegin." This performance marked the beginning of a long and fruitful cooperation with the institution. During her time in the capital, Lisowska performed nearly 300 times, creating numerous opera roles, including in "Halka," "Don Giovanni," "Aida," "Elektra," and "Faust." A significant position in her Warsaw repertoire was also "Tannhäuser."
Lisowska won particular favor from audiences and critics thanks to her interpretations of Richard Wagner's works. Although the Wagnerian repertoire was part of her activities much earlier, the true breakthrough in the artist's career turned out to be her performance as Elisabeth in "Tannhäuser" in 1974. This role opened doors for her to further European operas. Over time, Lisowska expanded her Wagnerian repertoire to other demanding roles, such as Eva in "The Mastersingers of Nuremberg," Ortrud and Brünnhilde in "Die Walküre," and Gutrune in "Götterdämmerung."
Beyond the Warsaw stage, Hanna Lisowska was also active on the international arena. Her artistic paths crossed with the activities of the opera in Düsseldorf-Duisburg and the Berlin Staatsoper. She was awarded the prestigious title of Kammersängerin in Berlin for her contribution to the development of stage art, an honor bestowed upon the most outstanding singers. A particular distinction in her legacy was her performances on the stage of the Metropolitan Opera in New York, where she interpreted Wagnerian musical dramas.
The artist's private life was not separate from her professional successes. For many years, she co-created the life of the Grand Theatre together with her husband, Antoni Wicher. Wicher, who was the conductor and artistic director of the Grand Theatre from 1973 to 1981, often conducted during her appearances. Together they realized artistic projects, and Lisowska appeared under his baton, among others, in the roles of Kundry in "Parsifal," Senta in "The Flying Dutchman," and Neal in Stanisław Moniuszko's "The Outcast."
Hanna Lisowska will be remembered as one of the most distinctive figures of the Polish opera stage in the second half of the 20th century. Organizers have prepared funeral ceremonies, which are scheduled to take place on September 18 at 11:00 in the Chapel of the Military Cemetery at Powązki in Warsaw.