{"id":1736,"date":"2022-04-20T14:56:21","date_gmt":"2022-04-20T12:56:21","guid":{"rendered":"https:\/\/newsletter.opera.wroclaw.pl\/?p=1736"},"modified":"2022-04-20T15:54:29","modified_gmt":"2022-04-20T13:54:29","slug":"rozmowa-z-radoslawem-zukowskim-ktory-dzis-obchodzi-jubileusz-45-lat-na-scenie-gratulujemy","status":"publish","type":"post","link":"https:\/\/newsletter.opera.wroclaw.pl\/?p=1736","title":{"rendered":"Rozmowa z Rados\u0142awem \u017bukowskim, kt\u00f3ry dzi\u015b obchodzi jubileusz 45 lat na scenie! Gratulujemy!"},"content":{"rendered":"\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 20%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-1736 gallery-columns-5 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Kniaz\u0301-Igor.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"1683\" height=\"1177\" src=\"https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Kniaz\u0301-Igor.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-1-1744\" srcset=\"https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Kniaz\u0301-Igor.jpg 1683w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Kniaz\u0301-Igor-300x210.jpg 300w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Kniaz\u0301-Igor-1030x720.jpg 1030w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Kniaz\u0301-Igor-768x537.jpg 768w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Kniaz\u0301-Igor-1536x1074.jpg 1536w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Kniaz\u0301-Igor-1500x1049.jpg 1500w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Kniaz\u0301-Igor-705x493.jpg 705w\" sizes=\"auto, (max-width: 1683px) 100vw, 1683px\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-1744'>\n\t\t\t\t&#8220;Knia\u017a Igor&#8221;\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Straszny-dwo\u0301r.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"1664\" height=\"1152\" src=\"https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Straszny-dwo\u0301r.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-1-1743\" srcset=\"https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Straszny-dwo\u0301r.jpg 1664w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Straszny-dwo\u0301r-300x208.jpg 300w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Straszny-dwo\u0301r-1030x713.jpg 1030w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Straszny-dwo\u0301r-768x532.jpg 768w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Straszny-dwo\u0301r-1536x1063.jpg 1536w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Straszny-dwo\u0301r-1500x1038.jpg 1500w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Straszny-dwo\u0301r-705x488.jpg 705w\" sizes=\"auto, (max-width: 1664px) 100vw, 1664px\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-1743'>\n\t\t\t\t &#8220;Straszny Dw\u00f3r&#8221;\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Turandot.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"1675\" height=\"1171\" src=\"https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Turandot.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-1-1742\" srcset=\"https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Turandot.jpg 1675w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Turandot-300x210.jpg 300w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Turandot-1030x720.jpg 1030w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Turandot-768x537.jpg 768w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Turandot-1536x1074.jpg 1536w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Turandot-1500x1049.jpg 1500w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Turandot-705x493.jpg 705w\" sizes=\"auto, (max-width: 1675px) 100vw, 1675px\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-1742'>\n\t\t\t\t&#8220;Turandot&#8221;\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Wolny-strzelec.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"1687\" height=\"1179\" src=\"https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Wolny-strzelec.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-1-1741\" srcset=\"https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Wolny-strzelec.jpg 1687w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Wolny-strzelec-300x210.jpg 300w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Wolny-strzelec-1030x720.jpg 1030w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Wolny-strzelec-768x537.jpg 768w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Wolny-strzelec-1536x1073.jpg 1536w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Wolny-strzelec-1500x1048.jpg 1500w, https:\/\/newsletter.opera.wroclaw.pl\/wp-content\/uploads\/2022\/04\/Wolny-strzelec-705x493.jpg 705w\" sizes=\"auto, (max-width: 1687px) 100vw, 1687px\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-1741'>\n\t\t\t\t&#8220;Wolny Strzelec&#8221;\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p><strong>Dzi\u015b po spektaklu <em>Toski <\/em>odb\u0119dzie si\u0119 benefis solisty naszej opery Rados\u0142awa \u017bukowskiego, kt\u00f3ry wyst\u0119powa\u0142 na scenach oper i filharmonii w kraju i na \u015bwiecie, z sukcesem bra\u0142 udzia\u0142 w wielu mi\u0119dzynarodowych festiwalach, jest laureatem licznych konkurs\u00f3w, odznaczony Br\u0105zowym Medalem &#8220;Zas\u0142u\u017cony Kulturze Gloria Artis&#8221;.<\/strong><\/p>\n<p><strong><em>Nie wystarczy pi\u0119knie za\u015bpiewa\u0107, trzeba mie\u0107 co\u015b do powiedzenia <\/em>m\u00f3wi \u00a0Rados\u0142aw \u017bukowski w rozmowie z Katarzyn\u0105 Aszkie\u0142owicz.\u00a0<\/strong><\/p>\n<p><strong>Ko\u0144czy Pan prac\u0119 artystyczn\u0105 w Operze Wroc\u0142awskiej &#8211; Wroc\u0142aw to wa\u017cne miejsce w pa\u0144skiej karierze?<\/strong><\/p>\n<p>Odchodz\u0119 z Opery Wroc\u0142awskiej po wieloletniej pracy \u2013 pierwsz\u0105 umow\u0119 podpisa\u0142em w 1977 roku. Zaczyna\u0142em w ch\u00f3rze jako student, a od 1982 roku \u015bpiewa\u0142em ju\u017c jako solista. Tu si\u0119 wszystko zacz\u0119\u0142o, zreszt\u0105 jestem wroc\u0142awianinem od urodzenia. Gdziekolwiek bym nie pracowa\u0142 na \u015bwiecie, zawsze by\u0142em zwi\u0105zany z Wroc\u0142awiem. Jestem profesorem Akademii Muzycznej im. Krzysztofa Pendereckiego w Krakowie \u2013 mieszkam we Wroc\u0142awiu. Pracowa\u0142em w Niemczech w latach 80. w teatrze \u2013 a jednocze\u015bnie te\u017c pracowa\u0142em i \u017cy\u0142em we Wroc\u0142awiu.<\/p>\n<p><strong>Ci\u0105gle jednak by\u0142 Pan w podr\u00f3\u017cy\u2026<\/strong><\/p>\n<p>Arty\u015bci z racji swojego zawodu s\u0105 bardzo ruchliwi. Czasami nie wiedzia\u0142em, gdzie mam swoje rzeczy, bo migrowa\u0142em mi\u0119dzy trzema \u2013 czterema miejscami. Tak si\u0119 pracowa\u0142o i \u017cy\u0142o. Lubi\u0142em muzyk\u0119, lubi\u0142em sztuk\u0119, wi\u0119c nie przeszkadza\u0142o mi to. Wtedy nawet niedogodno\u015bci sprawia\u0142y przyjemno\u015b\u0107, a poza tym ta mobilno\u015b\u0107 pozwala\u0142a mi poznawa\u0107 innych wykonawc\u00f3w, tw\u00f3rc\u00f3w, co by\u0142o bardzo rozwijaj\u0105ce, szczeg\u00f3lnie dla m\u0142odego artysty.<\/p>\n<p><strong>Pozna\u0142 Pan opery w wielu krajach i ich \u017cycie od \u015brodka -kt\u00f3ra Panu jest najbli\u017csza?<\/strong><\/p>\n<p>Sztuka zawsze \u0142\u0105czy ludzi \u2013 zbli\u017ca niezale\u017cnie od kraju, widz\u0119 to wykonuj\u0105c muzyk\u0119 oratoryjn\u0105 na ca\u0142ym \u015bwiecie. Szczeg\u00f3lne miejsce w moim sercu zajmuje Portugalia. Dla Portugalczyk\u00f3w Europa to ,,ma\u0142y kraj\u201d, bo oni my\u015bl\u0105 ca\u0142ym \u015bwiatem. Maj\u0105 niesamowite muzea, zachowan\u0105 histori\u0119 wiek\u00f3w \u2013 wida\u0107 j\u0105 nawet na szklankach pozostawionych w pa\u0142acach, kt\u00f3re maj\u0105 \u015blady odcisk\u00f3w palc\u00f3w ich dawnych w\u0142a\u015bcicieli. Tam s\u0105 zupe\u0142nie inne konteksty pojmowania cz\u0142owieka. Znajomy \u015al\u0105zak, kt\u00f3rego pozna\u0142em w Portugalii, powiedzia\u0142 mi, \u017ce gdy mieszka\u0142 w Polsce, nazywano go Szwabem, gdy wyemigrowa\u0142 do Niemiec, s\u0142ysza\u0142, \u017ce jest ,,brudnym Polakiem\u201d. Przyjecha\u0142 do Portugalii, i zapytali go:\u00a0<em>kim ty jeste\u015b jako cz\u0142owiek?\u00a0<\/em>Wiele nauczy\u0142em si\u0119 od Portugalczyk\u00f3w. Wsp\u00f3lnie jedli\u015bmy, \u017cyli\u015bmy, rozmawiali\u015bmy i tak jak Picasso, zapisywali\u015bmy nasze pomys\u0142y na serwetkach. Sp\u0119dzi\u0142em tam osiem lat i to by\u0142 fantastyczny czas. Zacz\u0105\u0142em od roli Komandora w\u00a0<em>Don Giovannim.\u00a0<\/em>Prawdziw\u0105 Portugali\u0119 tamtejsi muzycy pokazali mi dopiero po 2-3 latach, kiedy si\u0119 ju\u017c dobrze poznali\u015bmy.<\/p>\n<p><strong>Kusi\u0142o Pana \u017ceby zosta\u0107 Portugalczykiem?<\/strong><\/p>\n<p>Zawsze przede wszystkim chcia\u0142em by\u0107 sob\u0105. A jeste\u015bmy tym, co wynosimy z domu, kszta\u0142tuj\u0105 nas do\u015bwiadczenia i lata pracy, a tak\u017ce to, co dali nam inni ludzie. Im wi\u0119kszy baga\u017c do\u015bwiadcze\u0144, tym wi\u0119cej mamy do powiedzenia. Dlatego do pewnych r\u00f3l si\u0119 dorasta. Owszem, w m\u0142odym wieku mo\u017cna technicznie co\u015b pi\u0119knie za\u015bpiewa\u0107 \u2013 ale co mamy publiczno\u015bci do powiedzenia?<\/p>\n<p><strong>Kiedy Pan polubi\u0142 muzyk\u0119?<\/strong><\/p>\n<p>Od ma\u0142ego j\u0105 lubi\u0142em. W moim domu zawsze by\u0142y instrumenty, wi\u0119c nieustannie mi towarzyszy\u0142a, mia\u0142em j\u0105 dos\u0142ownie we krwi. Oboje z mam\u0105 sko\u0144czyli\u015bmy t\u0119 sam\u0105 uczelni\u0119,<br \/>\nz tym \u017ce moja mama mia\u0142a dyplom numer 13, a m\u00f3j mia\u0142 1213. Tysi\u0105c dwie\u015bcie dyplom\u00f3w p\u00f3\u017aniej do\u0142\u0105czy\u0142em do mamy i grona absolwent\u00f3w Akademii Muzycznej we Wroc\u0142awiu. Ojciec by\u0142 le\u015bnikiem, ale fantastycznie gra\u0142 na fortepianie.<\/p>\n<p><strong>Otrzyma\u0142 Pan zatem solidn\u0105 wyprawk\u0119 na swoj\u0105 muzyczn\u0105 drog\u0119, a kiedy rozpocz\u0119\u0142a si\u0119 na powa\u017cnie &#8211; w czym Pan debiutowa\u0142?<\/strong><\/p>\n<p>Rol\u0105 Ksi\u0119cia Gremina w\u00a0<em>Onieginie\u00a0<\/em>Czajkowskiego. Wcze\u015bniej w ramach dyplomu \u015bpiewa\u0142em Falstafa w\u00a0<em>Weso\u0142ych kumoszkach<\/em>, a w czasie studi\u00f3w wyst\u0119powa\u0142em w\u00a0<em>Fidelio<\/em>\u00a0jako ch\u00f3rzysta i to by\u0142 m\u00f3j pierwszy kontakt zawodowy z oper\u0105 w 1977. Zaczyna\u0142em wtedy z Jurkiem Szlachcicem, kt\u00f3ry te\u017c \u015bpiewa w naszej operze.<\/p>\n<p>Zanim jednak po raz pierwszy pojawi\u0142em si\u0119 na scenie, droga oczywi\u015bcie by\u0142a d\u0142uga. Moja mama by\u0142a bardzo przeciwna, bym zosta\u0142 muzykiem. Obawia\u0142a si\u0119, \u017ce nie poradz\u0119 sobie finansowo, bo to bardzo niepewny, ci\u0119\u017cki zaw\u00f3d itd. itp.. Odpowiada\u0142em jej wtedy, \u017ce\u00a0<em>tu przynajmniej jest sprawiedliwo\u015b\u0107 \u2013 je\u015bli b\u0119d\u0119 dobry, wszystko b\u0119dzie w porz\u0105dku<\/em>. Po dzi\u015b dzie\u0144 podziwiam swoj\u0105 naiwno\u015b\u0107! \ud83d\ude42 Kiedy podj\u0105\u0142em decyzj\u0119, mama mnie oczywi\u015bcie w niej wspiera\u0142a \u2013 widzia\u0142a jak bardzo mnie ci\u0105gnie do muzyki. Przynios\u0142a mi formularz \u2013 pracowa\u0142a w szkole muzycznej i ch\u00f3rze Polskiego Radia \u2013 i zda\u0142em na wydzia\u0142 wokalno-aktorski Wy\u017cszej Szko\u0142y Muzycznej. Ogrom pracy, talent, \u0142ut szcz\u0119\u015bcia pomog\u0142y mi i\u015b\u0107 dalej. Owocem tego by\u0142 m.in. wspomniany kontrakt z oper\u0105 w Lizbonie oraz z innymi operami i filharmoniami w Europie i na \u015bwiecie. Pr\u00f3cz oper \u015bpiewa\u0142em oratoria \u2013 prawdziwe sanatorium dla \u015bpiewaka dla operowego!<\/p>\n<p><strong>Teraz \u015bpiewa Pan Barona Scarpi\u0119 w\u00a0<\/strong><em><strong>Tosce &#8211;<\/strong><\/em><strong><em>\u00a0<\/em><\/strong><strong>\u00a0co Pan m\u00f3wi t\u0105 rol\u0105?<\/strong><\/p>\n<p>Gram specyficzn\u0105 posta\u0107. Baron Scarpia stara si\u0119 zdoby\u0107 kobiet\u0119, zmaga si\u0119 z problemem \u015bwiata damsko-m\u0119skich intryg. Ograniczaj\u0105 go wiek, stanowisko szefa policji. Wygrywa pi\u0119kny, m\u0142ody tenor, a Scarpia\u2026 Je\u017celi arty\u015bcie uda si\u0119 zespoi\u0107 z postaci\u0105, to ju\u017c jest sukces. Publiczno\u015b\u0107 nie znosi fa\u0142szu. Daj\u0119 swojemu bohaterowi to, co mam, a na pewno mog\u0119 da\u0107 prawd\u0119 moich uczu\u0107, emocji. Ale prywatne \u017cycie trzeba zostawi\u0107 za kulisami, nie miesza\u0107 tych dw\u00f3ch \u015bwiat\u00f3w.<\/p>\n<p><strong>Potrafi Pan je rozdzieli\u0107?<\/strong><\/p>\n<p>Kiedy\u015b jeden z moich koleg\u00f3w, jeszcze z czas\u00f3w studi\u00f3w, podszed\u0142 do mnie na pikniku urz\u0105dzanym przez moj\u0105 s\u0105siadk\u0119 i dobr\u0105 kole\u017cank\u0119 ze szko\u0142y muzycznej:<em>Jestem w szoku, ty jeste\u015b zupe\u0142nie inny!\u00a0<\/em>Odpowiedzia\u0142em mu:\u00a0<em>Bo jestem w domu, za tym p\u0142otem zostawiam to, kim jestem zawodowo.\u00a0<\/em>Rozdzielenie tego kim i jacy jeste\u015bmy w domu, od tego, co na scenie i w pracy to kwestia dyscypliny, id\u0105 za tym lata pracy.<\/p>\n<p><strong>Mia\u0142 pan swojego mentora, kt\u00f3ry tego pana uczy\u0142 czy raczej to kwestia do\u015bwiadczenia?<\/strong><\/p>\n<p>Prof. Irena Ga\u0142uszka. Fantastyczny cz\u0142owiek i pedagog. Du\u017co ode mnie wymaga\u0142a, dyscyplinowa\u0142a mnie, ale te\u017c po\u015bwi\u0119ca\u0142a mi wiele czasu. Zawsze by\u0142em do jej dyspozycji, to chyba by\u0142a moja najwi\u0119ksza zaleta! Sporo si\u0119 od niej nauczy\u0142em.<\/p>\n<p><strong>Pan te\u017c jest teraz takim nauczycielem?<\/strong><\/p>\n<p>Staram si\u0119, ale nie wszystko ode mnie zale\u017cy. S\u0105 studenci i studentki, kt\u00f3rzy z tego korzystaj\u0105 i mo\u017cna z nimi efektywnie pracowa\u0107, a inni licz\u0105 tylko na szcz\u0119\u015bcie i czekaj\u0105 na szybkie sukcesy. A wszyscy arty\u015bci wiedz\u0105, \u017ce dzie\u0142o potrzebuje czasu \u2013 musi si\u0119 ule\u017ce\u0107! Chocia\u017c musz\u0119 przyzna\u0107, \u017ce sama wiedza w sztuce scenicznej nie wystarczy, ale \u017ceby co\u015b osi\u0105gn\u0105\u0107 trzeba mie\u0107 solidne podstawy techniczne. U\u017cywaj\u0105c metafory j\u0119zykoznawczej, scen\u0105 rz\u0105dzi nie tylko gramatyka, sta\u0142e zasady, kt\u00f3re decyduj\u0105 o poprawno\u015bci naszej sk\u0142adni. Musi by\u0107 jeszcze odbiorca naszego komunikatu i to, co dajemy od siebie. Wtedy sztuka mo\u017ce zaistnie\u0107. Kiedy\u015b stan\u0105\u0142em na scenie i powtarza\u0142em sobie w g\u0142owie to, co zawsze m\u00f3wi\u0119 studentom,\u00a0<em>pilnuj tego\u2026pilnuj tamtego\u2026<\/em>\u00a0a\u017c pomy\u015bla\u0142em,\u00a0<em>cz\u0142owieku, co ty robisz, tak si\u0119 nie da!\u00a0<\/em>Technika jest niezwykle wa\u017cna, ale jeszcze wa\u017cniejsze jest tylko \u015brodkiem do tego, co chcemy przekaza\u0107 publiczno\u015bci.<\/p>\n<p><strong>Pa\u0144skie szczeg\u00f3lne role w karierze, kt\u00f3re w\u0142a\u015bnie wymaga\u0142y tej triady?<\/strong><\/p>\n<p><em>Faust, Nabucco, Czarna Maska, Tosca<\/em>\u2026 Na\u00a0<em>Tosk\u0119<\/em>\u00a0nam\u00f3wi\u0142a mnie moja \u017cona Aleksandra Lemiszka, wieloletnia solistka Opery Wroc\u0142awskiej.<\/p>\n<p><strong>Zdarza\u0142o Wam si\u0119 \u015bpiewa\u0107 wsp\u00f3lnie?<\/strong><\/p>\n<p>Pewnie, \u017ce tak!<\/p>\n<p><strong>Podejrzewam, \u017ce mo\u017ce by\u0107 to trudniejsze ni\u017c w przypadku duetu z neutraln\u0105 osob\u0105\u2026<\/strong><\/p>\n<p>To jest najtrudniejsze! To tylko poz\u00f3r, \u017ce w duecie z \u017con\u0105 mo\u017cna pozwoli\u0107 sobie na wi\u0119cej, wr\u0119cz przeciwnie! We\u017amy tak\u0105 scen\u0119 gwa\u0142tu. Grana z blisk\u0105 osob\u0105 wymaga wyj\u0105tkowego oddzielenia \u015bwiata prywatnego od zawodowego, a jeszcze trzeba uwa\u017ca\u0107, \u017ceby przypadkiem na tren sukni nie nadepn\u0105\u0107, bo w domu mo\u017cna b\u0119cki dosta\u0107 (<em>\u015bmiech).<\/em>\u00a0Ale c\u00f3\u017c, teatr to miejsce oparte na relacjach, wsp\u00f3lnocie, musimy umie\u0107 ze sob\u0105 \u017cy\u0107, bo to zgrany zesp\u00f3\u0142 tworzy instytucj\u0119 \u2013 j\u0105 mo\u017cna zlikwidowa\u0107 jednym podpisem, ale zbudowanie na nowo zajmuje lata. Wszyscy pracujemy w jedno\u015bci: arty\u015bci \u015bpiewacy, muzycy orkiestry, technika, pracownia krawiecka. Trzeba mie\u0107 tego \u015bwiadomo\u015b\u0107, \u017ce jeste\u015bmy miejscem zbudowanym na wzajemnych relacjach.<\/p>\n<p><strong>By utrzyma\u0107 dobre relacje w tak wielkiej wsp\u00f3lnocie na pewno trzeba cierpliwo\u015bci i przede wszystkim pokory\u2026<\/strong><\/p>\n<p>\u015awi\u0119te s\u0142owa, sztuka wymaga wielkiej pokory.<\/p>\n<p><strong>Pan jest pokorny?<\/strong><strong>\u00a0<\/strong><\/p>\n<p>My\u015bl\u0119, \u017ce to inni powinni oceni\u0107.<\/p>\n<p><strong>To bardzo pokorna odpowied\u017a! Po tylu latach sp\u0119dzonych w operze, czego Pan si\u0119 tutaj nauczy\u0142?<\/strong><\/p>\n<p>Mog\u0119 wyj\u015b\u0107 i za\u015bpiewa\u0107 Barona Scarpi\u0119 w taki spos\u00f3b w jaki \u015bpiewam i powiedzie\u0107 sobie\u00a0<em>starczy.\u00a0<\/em>Nauczy\u0142em si\u0119 te\u017c publiczno\u015bci, tego, jak potrafi ona reagowa\u0107, jak\u0105 energi\u0119 i uwag\u0119 potrafi przekaza\u0107 arty\u015bcie. Pami\u0119tam moment, gdy sta\u0142em na scenie i czu\u0142em, \u017ce ta cisza, to przeciwne napi\u0119cie, kt\u00f3re ludzie na widowni kieruj\u0105 w moj\u0105 stron\u0119 \u2013 \u017ce to wszystko w tamtym momencie by\u0142o moje.<\/p>\n<p>Nauczy\u0142em si\u0119 te\u017c, \u017ce praca solisty to nie tylko \u015bpiew. To aktorstwo, ruch i inne dodatkowe umiej\u0119tno\u015bci, kt\u00f3re sk\u0142adaj\u0105 si\u0119 na ostateczny efekt. Na wydziale wokalno-aktorskim przez trzy lata grali\u015bmy sztuki dramatyczne, i trzy lata \u2013 oper\u0119. Uczyli\u015bmy si\u0119 takich niuans\u00f3w jak to, w jaki spos\u00f3b trzyma si\u0119 papier czerpany, a jak pisze si\u0119 g\u0119sim pi\u00f3rem. Wszystko wymaga innej gry na scenie! Trzeba wiedzie\u0107, jak upa\u015b\u0107 na pod\u0142og\u0119, jak ta\u0144czy\u0107. Po co by\u0142 mi balet? Uczy\u0142em si\u0119 go kilka lat, wiedz\u0105c, \u017ce tancerzem nie zostan\u0119, ale za to mia\u0142em wi\u0119ksz\u0105 pewno\u015b\u0107, \u017ce gdy obr\u00f3c\u0119 si\u0119 kilka razy na scenie, to si\u0119 nie wywr\u00f3c\u0119.<\/p>\n<p><strong>To mocne fundamenty pod to, co ostatecznie sta\u0142o si\u0119 Pana przeznaczeniem, czyli \u015bpiew\u2026<\/strong><\/p>\n<p>Co te\u017c wymaga\u0142o czasu i wspomnianej pokory \u2013 wiedzia\u0142em, kiedy ma przyj\u015b\u0107 moja kolej, a kiedy jeszcze musz\u0119 zaczeka\u0107. Pierwsz\u0105 propozycj\u0119, rol\u0119 Zachariasza w<em>\u00a0Nabucco<\/em>, dosta\u0142em tu\u017c po studiach w operze w Bytomiu, do tego ofert\u0119 trzypokojowego mieszkania. Odm\u00f3wi\u0142em. Wiedzia\u0142em, \u017ce by\u0142o dla mnie za wcze\u015bnie. Dopiero 10 lat p\u00f3\u017aniej za\u015bpiewa\u0142em w\u00a0<em>Nabucco\u00a0<\/em>w Teatrze Wielkim w Warszawie. Potem te partie \u015bpiewa\u0142em wielokrotnie w r\u00f3\u017cnych teatrach.<\/p>\n<p>Moja profesorka \u015bpiewu m\u00f3wi\u0142a mi, bym pami\u0119ta\u0142 o spokoju, technice, a potem dopiero o interpretacji. Co wi\u0119cej, twierdzi\u0142a, \u017ce nie jestem got\u00f3w na konkursy! A ja i tak w nich bra\u0142em udzia\u0142, bo chcia\u0142em si\u0119 sprawdzi\u0107, podda\u0107 si\u0119 ocenie innych ludzi, zobaczy\u0107, ile jeszcze mi brakuje, by sta\u0107 si\u0119 artyst\u0105.<\/p>\n<p><strong>Wzrusza si\u0119 Pan podczas spektakli? Emocje to jeden ze sk\u0142adnik\u00f3w dobrego wyst\u0119pu, ale z drugiej strony, mog\u0105 go te\u017c zepsu\u0107\u2026<\/strong><\/p>\n<p>Nie pozwalam sobie na to. Pami\u0119tam jak \u015bpiewa\u0142em w czasie pierwszej komunii w\u0142asnego syna, ten \u015bcisk w gardle \u2013 nigdy wi\u0119cej! Znam przypadek, kiedy jedna ze \u015bpiewaczek tu\u017c przed wyst\u0119pem otrzyma\u0142a wiadomo\u015b\u0107, \u017ce jej c\u00f3rka mia\u0142a wypadek i jest w ci\u0119\u017ckim stanie. Artystka zaniem\u00f3wi\u0142a na p\u00f3\u0142 roku, emocje wymkn\u0119\u0142y si\u0119 spod kontroli.<\/p>\n<p><strong>Istnieje \u017cycie pozaoperowe? Nied\u0142ugo b\u0119dzie mia\u0142 Pan nieco wi\u0119cej czasu na odpoczynek, zwolnienie tempa\u2026<\/strong><\/p>\n<p>Planuj\u0119 przede wszystkim normalno\u015b\u0107, nie planuj\u0119 zbyt wiele zgodnie ze staropolskim powiedzeniem\u00a0<em>Cz\u0142owiek planuje, Pan B\u00f3g zapisuje.\u00a0<\/em>Jestem cz\u0142owiekiem spe\u0142nionym. Mam rodzin\u0119, dom, wnuki i czas na uwolnienie si\u0119 od tego wiecznego p\u0119du, ci\u0105g\u0142ych komplikacji w \u017cyciu. A ka\u017cdy ma jakie\u015b problemy \u2013 na staro\u015b\u0107 chce si\u0119 stabilizacji, spokoju i przede wszystkim zdrowia. Patrz\u0119 czasem na sw\u00f3j telefon, widz\u0119, ile numer\u00f3w ju\u017c nigdy nie odbierze ode mnie po\u0142\u0105czenia, ale ja nigdzie na razie si\u0119 nie wybieram! Chyba, \u017ce na wygodny fotel, by sp\u0119dzi\u0107 czas z wnukami. W dzieciach jest prawda, rado\u015b\u0107 i otwarto\u015b\u0107 na drugiego cz\u0142owieka. Uwag\u0119 i wiedz\u0119 o \u015bwiecie trzeba przekazywa\u0107 im od najm\u0142odszych lat, nawet, gdy ich oczy s\u0105 jeszcze troch\u0119 m\u0119tne, gdy dopiero ucz\u0105 si\u0119 patrze\u0107 na \u015bwiat. Tylko tak wychowamy nast\u0119pne pokolenia. Przekazuj\u0105c im prawd\u0119 oraz ucz\u0105c tolerancji i szacunku wobec drugiego cz\u0142owieka. A nauczymy ich tego tylko wtedy, kiedy one b\u0119d\u0105 widzia\u0142y te warto\u015bci w nas.<\/p>\n<p>Rozmawia\u0142a Katarzyna Aszkie\u0142owicz<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400;\"><strong>45 years on stage of Rados\u0142aw \u017bukowski!<\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>Today, after the opera\u00a0<em>Tosca<\/em>, there will be a performance in honour for the soloist of our opera, Rados\u0142aw \u017bukowski, who has performed on the stages of operas and philharmonics in Poland and abroad, successfully participated in many international festivals, and a laureate of numerous competitions, awarded with the Bronze Medal &#8220;Gloria Artis for Services to Culture&#8221;.<\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong><em>It is not enough to sing beautifully, you need to have something to say too<\/em>, says Rados\u0142aw \u017bukowski in an interview with Katarzyna Aszkie\u0142owicz.\u00a0<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p style=\"font-weight: 400;\"><strong>You are ending your artistic work at the Wroc\u0142aw Opera House &#8211; is Wroc\u0142aw an important place in your career?<\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>\u00a0<\/strong>I am leaving Wroc\u0142aw Opera after many years of work &#8211; I signed my first contract in 1977. As I started in the chorus as a student, and from 1982 was I already singing as a soloist. This is where it all began, by the way I am a citizen of Wroc\u0142aw since I was born. Wherever I have worked in the world, I have always been connected to Wroc\u0142aw.\u00a0I am a professor at the Krzysztof Penderecki Academy of Music in Krak\u00f3w &#8211; and I live in Wroc\u0142aw.\u00a0I worked in Germany in the 1980s in the theatre &#8211; and at the same time I also worked and lived in Wroc\u0142aw.<\/p>\n<p style=\"font-weight: 400;\"><strong>\u00a0<\/strong><strong>But you were constantly on the move&#8230;<\/strong><\/p>\n<p style=\"font-weight: 400;\">Artists are very mobile because of their profession. Sometimes I did not know where all of my things were, because I migrated between three or four places. That was how I worked and lived. I liked music, I liked art, so it didn&#8217;t bother me. At the time, even the inconveniences were fun, and besides, this mobility allowed me to meet other performers, artists, which was very developing, especially for a young artist.<\/p>\n<p style=\"font-weight: 400;\"><strong>You have seen opera houses in many countries and their life from the inside &#8211; which one is closest to you?<\/strong><\/p>\n<p style=\"font-weight: 400;\">Art always brings people together &#8211; it brings people together regardless of the country, I see this by performing oratorio music all over the world. Portugal holds a special place in my heart. For the Portuguese, Europe is &#8216;a small country&#8217;, because they think in terms of the whole world. They have incredible museums, preserved history of centuries &#8211; you can see it even in glasses left in palaces, which have traces of fingerprints of their former owners. They have a completely different understanding of the human being. A Silesian friend, whom I met in Portugal, told me that when he lived in Poland, he was called a Kraut, and when he emigrated to Germany, he was told he was a &#8220;dirty Pole&#8221;.\u00a0He came to Portugal, and they asked him: who are you as a person? I learned a lot from the Portuguese. We ate together, we lived together, we talked together and, like Picasso, we wrote down our ideas on napkins.\u00a0I spent eight years there and it was a fantastic time. I started with the role of the Commodore in Don Giovanni. They only showed me the real Portugal after 2-3 years, when we got to know each other well.<\/p>\n<p style=\"font-weight: 400;\"><strong>Were you tempted to become Portuguese?<\/strong><\/p>\n<p style=\"font-weight: 400;\">Above all, I always wanted to be myself. And we are what we bring from home, shaped by our experiences and years of work, as well as what other people have given to us.\u00a0The more experience we have, the more we have to say. That is why you grow into certain roles. Yes, you can technically sing something beautiful at a young age &#8211; but what do we have to say to the audience?<\/p>\n<p style=\"font-weight: 400;\"><strong>When did you become fond of music?<\/strong><\/p>\n<p style=\"font-weight: 400;\">I liked it from a very young age. There were always instruments in my house, so it was always with me, it was literally in my blood. My mother and I both graduated from the same university. Except that my mother&#8217;s diploma was number 13 and mine was 1213. My father was a forester, but he played the piano fantastically.<\/p>\n<p style=\"font-weight: 400;\"><strong>So you received a solid training for your musical journey, and when did you start seriously &#8211; in what did you make your debut?<\/strong><\/p>\n<p style=\"font-weight: 400;\">The role of Prince Gremino in Tchaikovsky&#8217;s Onegin. Before that I sang Falstaff in The Merry Wives as part of my degree, and during my studies I performed in Fidelio as a chorister and that was my first professional contact with opera in 1977. I started then with Jurek Szlachcic, who also sings in our opera.<\/p>\n<p style=\"font-weight: 400;\">But before I got on stage for the first time, the road was of course long. My mother was very much against me becoming a musician. She was afraid that I wouldn&#8217;t be able to cope financially, because it&#8217;s a very uncertain, difficult profession. I told her at the time that at least there was justice &#8211; if I was good, everything would be fine. To this day I marvel at my naivety! When I made my decision, my mother supported me in it of course &#8211; she saw how much I was drawn to music. She brought me a form &#8211; she worked in a music school and in the choir of the Polish Radio &#8211; and I passed my entrance exams to the vocal-acting department of the Music Academy.<\/p>\n<p style=\"font-weight: 400;\">A lot of work, talent and luck helped me to go further. This resulted, among other things, in the aforementioned contract with the Lisbon Opera and with other opera houses and philharmonics in Europe and around the world.\u00a0Apart from operas, I sang oratorios &#8211; a real sanatorium for an opera singer!<\/p>\n<p style=\"font-weight: 400;\"><strong>You are now singing Baron Scarpia in Tosca &#8211; what do you say with this role?<\/strong><\/p>\n<p style=\"font-weight: 400;\">I play a specific character.\u00a0Baron Scarpia tries to win a woman, struggles with the world of male-female intrigue. He is limited by his age and his position as chief of police. A beautiful young tenor wins, and Scarpia&#8230; If the artist manages to unite with the character, it&#8217;s already a success. The audience hates falsehood. I give my character what I have, and I can certainly give the truth of my feelings, my emotions. But you have to leave your private life behind the scenes, don&#8217;t mix these two worlds.<\/p>\n<p style=\"font-weight: 400;\"><strong>Can you separate them?<\/strong><\/p>\n<p style=\"font-weight: 400;\">Once one of my colleagues, still from my university days, approached me at a picnic organised by my neighbour and good friend from music school: I am shocked, you are completely different!\u00a0I answered him: Because I am at home, behind this fence I leave who I am professionally. Separating who and what we are at home from what we are on stage and at work is a matter of discipline, it takes years of work.<\/p>\n<p style=\"font-weight: 400;\"><strong>Did you have a mentor who taught you this or is it a matter of experience?<\/strong><\/p>\n<p style=\"font-weight: 400;\">Prof. Irena Ga\u0142uszka. A fantastic person and teacher. She demanded a lot from me, she disciplined me, but she also sacrifice me a lot of time. I was always at her disposal, which was probably my greatest advantage! I learned a lot from her.<\/p>\n<p style=\"font-weight: 400;\"><strong>Are you also such a teacher now?<\/strong><\/p>\n<p style=\"font-weight: 400;\">I try, but not everything depends on me. There are male and female students who benefit from this and I can work with them effectively, while others just count on luck and wait for quick success. And all artists know that a work of art needs time &#8211; it has to take its time! Although I must admit that knowledge alone in the performing arts is not enough, but to achieve something you need to have a solid technical basis. To use a linguistic metaphor, the stage is dominated not only by grammar, fixed rules that determine the correctness of our syntax. There has to be a recipient of our message and what we give from ourselves. Then art can exist. I once stood on stage and repeated in my head what I always say to my students, watch this&#8230; watch that&#8230; until I thought, man, what are you doing, you can&#8217;t do it that way! Technique is extremely important, but more important is what you want to say to the audience.<\/p>\n<p style=\"font-weight: 400;\"><strong>Particular roles in your career that just required this triad?<\/strong><\/p>\n<p style=\"font-weight: 400;\"><em>Faust, Nabucco, the Black Mask, Tosca&#8230; I was persuaded to do Tosca by my wife, Aleksandra Lemiszka, a long-time soloist of Wroc\u0142aw Opera.\u00a0<\/em><\/p>\n<p style=\"font-weight: 400;\"><strong>Have you ever sung together?<\/strong><\/p>\n<p style=\"font-weight: 400;\"><strong>\u00a0<\/strong>Of course we have!<\/p>\n<p style=\"font-weight: 400;\"><strong>I suspect this may be more difficult than a duet with a neutral person&#8230;.<\/strong><\/p>\n<p style=\"font-weight: 400;\">This is the hardest thing! It&#8217;s only a semblance that in a duet with your wife you can afford to do more, on the contrary! Take the rape scene. Played with a close person, it requires an exceptional separation of private and professional worlds, and you have to be careful not to step on the train of the dress, because you can get later hurt at home (laughs). But well, theatre is a place based on relations, community, we have to be able to live together, because a team is what creates an institution &#8211; it can be liquidated with one signature, but it takes years to build it. We all work as unity: singers, orchestra musicians, technicians, tailors. You have to be aware that we are a place built on mutual relations.<\/p>\n<p style=\"font-weight: 400;\"><strong>To maintain good relations in such a large community certainly requires patience and above all humility&#8230;<\/strong><\/p>\n<p style=\"font-weight: 400;\">Holy words, art requires great humility.<\/p>\n<p style=\"font-weight: 400;\"><strong>Are you humble?\u00a0<\/strong><\/p>\n<p style=\"font-weight: 400;\">I think it is for others to judge.<\/p>\n<p style=\"font-weight: 400;\"><strong>That is a very humble answer! After so many years in opera, what have you learned here?<\/strong><\/p>\n<p style=\"font-weight: 400;\">I can go out and sing Baron Scarpia the way I sing and say enough to myself. I also learned the audience, how they can react, what energy and attention they can give to the artist. I remember the moment when I stood on the stage and I felt that this silence, this opposite tension that the people in the audience were directing towards me &#8211; that it was all mine at that moment.<\/p>\n<p style=\"font-weight: 400;\">I also learned that a soloist&#8217;s job is not just singing. It&#8217;s acting, movement and other additional skills that add up to the final result. In the vocal-acting department, we did drama for three years, and opera for three years. We learned such nuances as how to hold handmade paper and how to write with a goose feather. Everything requires different acting on stage! You have to know how to fall on the floor, how to dance. What was ballet for? I learnt it for several years, knowing that I would not become a dancer, but I had more confidence that if I turned around a few times on stage, I would not fall over.<\/p>\n<p style=\"font-weight: 400;\"><strong>These are strong foundations for what ultimately became your destiny, which is singing&#8230;<\/strong><\/p>\n<p style=\"font-weight: 400;\">This also required time and the aforementioned humility &#8211; I knew when it was my turn and when I still had to wait. I received my first offer, the role of Zachariah in Nabucco, right after my studies at the opera in Bytom, and an offer of a three-room flat. I turned it down. I knew it was too early for me. It was not until 10 years later that I sang Nabucco at the Teatr Wielki in Warsaw. Then I sang these parts many times in different theatres.<\/p>\n<p style=\"font-weight: 400;\">My singing professor told me to remember about calmness, technique and then about interpretation. What&#8217;s more, she said I wasn&#8217;t ready for competitions! But I entered them anyway, because I wanted to test myself, to be judged by other people, to see how far I still lacked to become an artist.<\/p>\n<p style=\"font-weight: 400;\"><strong>Do you get emotional during performances? Emotions are one of the components of a good performance, but on the other hand, they can also ruin it&#8230;<\/strong><\/p>\n<p style=\"font-weight: 400;\">I don&#8217;t allow myself to do that.\u00a0I remember singing at my own son&#8217;s first communion, the tightness in my throat &#8211; never again! I know a situation when one of the singers just before the performance received the news that her daughter had an accident and was in a serious condition. The artist was speechless for six months, her emotions were out of control.<\/p>\n<p style=\"font-weight: 400;\"><strong>Is there a life outside opera?\u00a0<\/strong><strong>You will soon have a little more time to rest, to slow down&#8230;<\/strong><\/p>\n<p style=\"font-weight: 400;\">Above all, I plan normality, I do not plan too much according to the old Polish saying:\u00a0<em>Man plans, God records<\/em>.\u00a0I am a fulfilled man. I have a family, a house, grandchildren and the time to free myself from this eternal rush, the constant complications in life. Everyone has some problems &#8211; in old age you want stability, peace and, above all, health. I look sometimes at my phone and see how many numbers will never call me again, but I&#8217;m not going anywhere!\u00a0Unless it&#8217;s to a comfy chair to spend time with my grandchildren.\u00a0There is truth, joy and openness to others in children. Attention and knowledge about the world should be passed on to them from an early age, even when their eyes are still a little blurry, when they are just learning to look at the world. This is the only way to bring up the next generation. By passing on the truth and teaching them tolerance and respect for others. And we will only teach them this when they see these values in us.<\/p>\n<p>Interviewed by Katarzyna Aszkie\u0142owicz<\/p>\n<p>translation Karolina Mrozowska<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Dzi\u015b po spektaklu Toski odb\u0119dzie si\u0119 benefis solisty naszej opery Rados\u0142awa \u017bukowskiego, kt\u00f3ry wyst\u0119powa\u0142 na scenach oper i filharmonii w kraju i na \u015bwiecie, z sukcesem bra\u0142 udzia\u0142 w wielu mi\u0119dzynarodowych festiwalach, jest laureatem licznych konkurs\u00f3w, odznaczony Br\u0105zowym Medalem &#8220;Zas\u0142u\u017cony Kulturze Gloria Artis&#8221;. Nie wystarczy pi\u0119knie za\u015bpiewa\u0107, trzeba mie\u0107 co\u015b do powiedzenia m\u00f3wi \u00a0Rados\u0142aw \u017bukowski [&hellip;]<\/p>\n","protected":false},"author":10,"featured_media":1745,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":["post-1736","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aktualnosci"],"_links":{"self":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1736","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1736"}],"version-history":[{"count":11,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1736\/revisions"}],"predecessor-version":[{"id":1760,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1736\/revisions\/1760"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/media\/1745"}],"wp:attachment":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1736"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1736"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1736"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}