BIO

ŁUKASZ BOROWICZ – CONDUCTOR


One of the most versatile conductors of his generation, Łukasz Borowicz regularly leads the major European orchestras in the core Germanic repertoire as well as important Russian, Polish, Czech and Hungarian works. He conducts opera and has received numerous prizes for his over 100 recordings. From 2007 to 2015 he was Chief Conductor of the Polish Radio Symphony Orchestra in Warsaw, and in 2006 he was appointed Chief Guest Conductor of the Poznań Philharmonic, a title he retains.

In the 20/21 season Borowicz debuts with Sinfonieorchester Wuppertal, Orquestra Titular del Teatro Real (Madrid) and returns to Janáček Philharmonic Orchestra (Ostrava), Slovak Philharmonic Orchestra (Bratislava), Brno Philharmonic Orchestra, DSO Berlin, Baltic Philharmonic (Gdańsk), Cracow Philharmonic, Beethoven Academy Orchestra (Cracow), Silesian Philharmonic (Katowice), Pomeranian Philharmonic (Bydgoszcz) and Teatr Wielki – Polish National Opera (Warsaw).

In the 19/20 season Borowicz led a new production of Moniuszko’s Halka at the Theater an der Wien and the Teatr Wielki – National Opera of Poland. Throughout February and March, Borowicz led the Poznań Philharmonic on tour throughout Germany and France, including stops at the Kölner Philharmonie and the Théâtre des Champs Elysées.

In the 18/19 season Borowicz made his debuts with Paris Opera (Les Huguenots), Hungarian National Orchestra and Prague Radio Symphony Orchestra, and led a new production of Halka (Vilnius Version) by Stanisław Moniuszko at the Polish National Opera. He performed on tour with the Poznań Philharmonic, and returned to Warsaw Philharmonic, Konzerthausorchester Berlin, Staatsphilharmonie Rheinland-Pfalz, Württembergische Philharmonie Reutlingen, Janáček Philharmonic and Orchestre symphonique et lyrique de Nancy, as well as the orchestras in Katowice, Szczecin, Gdańsk and Łódź. Ongoing recording projects included a multi-disc recording of Anton Bruckner’s sacred music with RIAS Kammerchor and Akademie für Alte Musik Berlin for Accentus, as well as a release of Hugo Alfven’s five symphonies with the Deutsche Symphonieorchester Berlin on CPO. He also recorded an album of cello concertos by exiled Jewish composers with Raphael Wallfisch and the BBC National Orchestra of Wales. In the 17/18 season he made his debut with the London Philharmonic Orchestra, Gürzenich-Orchester Köln and recorded with Bamberger Symphoniker.

Łukasz Borowicz has appeared as guest conductor with SWR Sinfonieorchester, Düsseldorfer Symphoniker, Hamburger Symphoniker, MDR Sinfonieorchester, Luzerner Symfonieorchester, Orchestre National de Lille, Luxembourg Philharmonic Orchestra, Royal Philharmonic Orchestra, BBC Scottish Symphony Orchestra, Queensland Symphony Orchestra, Trondheim Symphony Orchestra, Los Angeles Philharmonic New Music Group and a number of other orchestras and ensembles, including all the major Polish symphonies. He has led concerts at the Rossini Festival in Pesaro, Schleswig-Holstein Music Festival and Kissinger Sommer Festival, and has an ongoing relationship with the Beethoven Easter Festival in Warsaw, which has seen thirteen rarely played operas recorded and released to date.

Borowicz made his operatic debut at Polish National Opera with Don Giovanni, which has been followed by over 180 performances at the house, including new productions of Orfeo ed Euridice, A Midsummer’s Night Dream (Mendelssohn/Ligeti), The Rite of Spring and Romeo and Juliet (Prokofiev). Further operatic credits include premieres of Die Zauberflöte, Rusalka, Dido and Aeneas, Blubeard’s Castle (Łódź), Don Giovanni, Eugene Onegin, Halka, King Roger (Kraków), Eugene Onegin (Nantes), King Roger (Bilbao), Don Giovanni (Polish Royal Opera Warsaw).

A prolific recording artist with over 100 albums to his name, Borowicz’s recordings have been awarded four Diapason d’Or prizes. Symphonic recordings include the complete violin concertos by Grażyna Bacewicz for Chandos, the complete symphonic works by Andrzej Panufnik for CPO, and several titles for Hyperion. The final installment of the Panufnik cycle was selected as an Editor’s Choice by Gramophone magazine, and Borowicz received the ICMA Special Achievement Award in 2015 for his pioneering work on the cycle. In 2018 he received another ICMA award for his recording of Quo Vadis by Feliks Nowowiejski. His collaboration with Piotr Beczała on Deutsche Grammophon’s recording Heart’s delight – Songs of Richard Tauber was met with wide critical and public praise.

Born in Warsaw in 1977, Łukasz Borowicz graduated from the Frederic Chopin Music Academy, where he studied under Bogusław Madey. He received a doctorate in conducting under Antoni Wit. He has received the Polityka Passport Award (2008), Coryphée of Polish Music Award (2011), Norwid Award (2013) and Tansman Prize honouring an outstanding musical personality (2014).

 


 

Heroic performances from the LPO and Łukasz Borowicz

— Bachtrack (May 2018)

 

I had not previously seen the Polish conductor perform but I was impressed – by the unfussy attentiveness to score and soloist in Penderecki’s Concerto and by the lithe freedom of his interpretation and rendering of Prokofiev’s Fifth Symphony (1944).

— Seen and Heard International (May 2018)

 

“Crowned by an exalted performance of Penderecki’s Second Violin Concerto, played by the dedicatee Anne-Sophie Mutter in the presence of the composer, the London Philharmonic’s closing concert of its current season took excellence and courageous programme planning to levels of expectation and emotional intensity more than once defying belief. Here was an orchestra in terrific form, working with a new conductor, Łukasz Borowicz, rising to every challenge, playing with a finesse, exchange, discipline and dynamic sophistication that excited the familiar and clarified the unfamiliar. Borowicz, formerly chief conductor of the Polish Radio Symphony Orchestra in Warsaw, coaxed his players to listen as individuals and respond as a regiment. A secure presence on the podium, elegant and attentive, not unduly flamboyant, with a clear beat, he’s a musician who on this showing thinks in graceful, shaped phrases placed within long paragraphs. He got the strings to dig deep, bottom upwards, creating warmly bedded foundations, the more gravitationally powerful and vibrationally nuanced for the addition of pitch-less percussion (bass drum most obviously) in the Prokofiev Symphony. He brought a bright edge to the woodwind, and allowed the brass to relish the limelight, virtuosity razor-sharp and rhythmically tensioned. Whatever his secret, his rehearsal technique, he got the LPO to speak and take to the mountain highs, here coasting, now taking the bit, there opening the throttle like a Bugatti thundering down the straight in full-throated roar. Yes, some concert…

— Classical Source (May 2018)

 

The success is largely due to Lukasz Borowicz, 38 year-old Polish conductor, (…) already holder of an extensive discography: he’s obviously at ease with this repertoire. He conducts the whole concert with baffling ardor and control and it’s hard to know where to start when it comes to praising the precision of the rhythms, the acute sense of contrast and dynamic, or the sharp attention he pays to soloists. Thanks to him, the flawless Orchestre National des Pays de la Loire is glowing, with a string section in a state of grace.

— Resmusica.com, Vincent Deloge (Tchaikovsky Eugene Onegin at Opera de Nantes)

 

An excellent conductor… extremely gifted

— Krzysztof Penderecki

 

We will be hearing a lot more of Lukasz Borowicz

— Gramophone

 

Das ORF Radiosymphonieorchester Wien spielte zwar wohltuend unprätentiös, ließ nie falsche Sentimentalität aufkommen, schien sich jedoch oft in Moniuszkos Melodieschleifen zu verlieren, ohne auf dramaturgische Zuspitzungen zuzusteuern. Das lag zweifellos an Łukasz Borowicz am Pult, dem es erst im Finale gelang, auch den tragischen Hintergrund dieser liedhaft-schlichten Musik hervorzuheben. Da erst zeigte sich, dass Moniuszko durchaus von Carl Maria von Weber inspiriert wurde.

The ORF Radiosymphonieorchester Wien performed pleasantly unpretentious, never let false sentimentality arise, but often seemed to get lost in Moniuszko’s melody without heading for dramaturgical exaggerations. That was undoubtedly due to Łukasz Borowicz on the podium, who only managed to highlight the tragic background of this song-like, simple music in the finale. Only then did it become clear that Moniuszko was definitely inspired by Carl Maria von Weber.

— Frankfurter Allgemeine Zeitung, by REINHARD KAGER