Uczniowie Adama Didura wobec okoliczności politycznych: rekonesans

Abstract

The scope and results of Adam Didur’s teaching activity at The Warsaw Conservatory, The Karol Szymanowski Lviv Conservatory and The Conservatory of the Galician Music Society (Polish Music Society) was impressive. After the Second World War, he was a professor and dean of The Faculty of Vocal Studies at the State Higher School of Music (formerly The State Conservatory of Music) in Katowice. He was a valued teacher and educator. He shaped a large group of outstanding disciples who remained faithful to the Master and to his memory in the changing historical realities. Among Didur’s followers one can mention: Wiktoria Kotulakówna (Calma), Lesław Finze, Marian Zygmunt Nowakowski, Jadwiga Lachetówna (Bursztynowicz), Zofia Czepielówna, Stanisław Łabaziewicz (Łobaziewicz), Aleksander Kowalski, Teodor Tereń-Juśkiw, Zdzisław Pręgowski (Zdzisław Alba), Eugenia Zarzycka (vel Zaryćka), Michał Rybczyn, L. Karolnicka (vel Karatnicka, vel Karotnicka), Ira Małaniuk, Franciszek Arno (Arno- Kustosik), Andrzej Hiolski, Mieczysław Fogg, Tadeusz Bursztynowicz, Maria Fołtyn and his daughters: Ewa Didur (married Abbove), Olga Didur (married Wiktorowa) i Mary Didur-Załuska and his grandson Adam Wiktor. Reflections focused on the development of the subject were included in the chronological framework, starting with the staging of La Favorita by Donizetti in Lviv in 1937, as well as Janek by Żeleński and Aida by Verdi in 1938, Halka by Moniuszko in Kraków in 1944, until to the performances in Katowice and Bytom in 1945: Halka, Tosca, Cavalleria rusticana and Pagliacci and the concept of Traviata and Straszny dwór prepared under his direction, which he did not live to see. An attempt was made to discuss the attitudes and fate of the Didur’s disciples who engaged in the artistic activity of the Master. The analysis of the impact of political circumstances on the cooperation with Didur covers the situation before the Second World War, including cultural and patriotic initiatives, in which he involved his disciples. During the German occupation, the topic of secret teaching in occupied Warsaw was developed with reference to the boycott of open scenes and the controversies surrounding the representation of Halka i n K raków. The d escription o f t he p eriod 1 945–1946 focused o n t he c ircumstances of the establishment of The Katowice Opera in the then political situation and on showing the unwavering presence of followers around Didur. In this context, we refer to the organizational regulations of the ZASP [Association of Polish Stage Artists] in the course of post-war verification of members and the operation of “union compulsion” when the artists signed the convention. In the light of historical sources, the question of Adam Didur’s nomination for the position of director of the Opera was considered. Such focused reflection was extended by the subject of the repressions of the communist regime against Didur and his disciples after the Second World War.