Abstrakt: | 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. |