Barbara Poplawska | Photo Credit: Special Arrangement
Barbara Poplawska, the 29-year-old conductor of the Symphony Orchestra of India (SOI), recently visited Bengaluru, and brought her passion for Western classical music to the city that has embraced diverse musical traditions. The group presented a classic christmas It includes the delights of several distinct seasons, including Corelli Christmas ConcertoTchaikovsky’s The Nutcracker Suite, Strauss’s iconic blue danubeIn addition to traditional Christmas carols.
in an interview with The HinduPoplawska shares her unique journey from Kazakhstan to Poland and ultimately to India, where she joined SOI at the National Center for the Performing Arts (NCPA) as an assistant conductor before coming to the Centre.
“In places like Europe, audiences are not very responsive and they need more time. But in India, right from the first bite, you start feeling the connection.” Photo Credit: Special Arrangement
Poplawska speaks fondly of the enthusiastic reception she has received from Indian audiences, noting their warmth and response in comparison to her European counterparts. He also highlighted the importance of increasing young audiences’ connection with music.
He praised the orchestra’s flexibility and adaptability, citing its survival through wars and pandemics, despite challenges such as acoustics and limited freedom to experiment. Looking to the future, Poplawska is optimistic about the growth of Western classical music in India and around the world. She believes in the transformative magic of orchestras and the importance of preserving their rich heritage while embracing new artistic expressions.
How did your journey with classical music and conducting begin in India?
it was an accident. I was in Poland with a master’s degree in music and some projects, but I had no permanent job. One of the heads of the NCPA is from Kazakhstan, and I was born there. Somehow I found him and contacted him. NCPA invited me here a few years ago and I started as assistant conductor. When I joined it was a practice job, and as I started building relationships within SOI, I started working as a conductor.
How receptive are Indian audiences to orchestras, especially in Bengaluru?
Since my first concert here, I have experienced that the audiences in India and cities like Bengaluru and Mumbai are very open. In places like Europe the audiences are not very responsive and need more time. But in India, right from the first part, you start feeling the connection and support from the audience, which is very helpful and gives us a lot of energy.
During your recent visit to Bengaluru, you organized a special session for children. How receptive are Indians to Western classical music?
I think kids all over the world react that way and at the end of the day, they’re all kids. It’s always interesting for them. Most children rarely get the opportunity to see a live orchestra, and when they do, they get the chance to see the instruments live, hear their sounds, and learn to distinguish between each instrument. I really appreciate orchestras that perform for children, because it is so important for children to have a connection with music from a very early age.
Do people around the world generally have patience for classical genres because they involve patience as well as developing taste?
One thing I really realized after being in the music industry for a few years is that music, be it western classical, popular, Indian classical or any other form, is an expression of the musicians. These expressions will touch our hearts, and you will connect with them, no matter the genre. But some may like it, and some may not. I’m always surprised when I conduct modern classical music because there are some people in the classical world who are still not open to it. Every music is an expression and the audience has to be open to it.
Are Indian auditoriums suitable for Western orchestras in terms of acoustics?
Frankly, I realized that most of us, the younger generation of musicians, try not to categorize the auditoria and we strive to make our music the best it can be. When we give the right emotions, it does not matter how good or bad the place of performance is. We take it as a challenge to deliver our work to the audience through whatever limitations or facilities we have.
As someone who is expected to perform Western classical music on a regular basis, do you have the freedom to create or experiment with new music in your field?
When I was in Poland there was always a set of rules for the orchestra, which ensured that it had some percentage of classical and a little modern music. In an orchestra, it really depends on how open the manager is to making changes. But of course, we play Western classical music not only because we are obliged to, but also because of the rich history and heritage left behind. We love to continue the legacy and imprint it in people’s memories.
In contemporary times, classical music is facing unique challenges. How do you see the future of orchestras, especially in India?
Orchestral or western classical music has survived many wars, epidemics and much more, it will continue to survive and flourish in the days to come. During the COVID-19 pandemic, when it seemed everything was lost, musicians around the world came together to find ways to perform. I believe that when a group of people come together to perform, no matter what, it will always survive. That’s one of the reasons I decided to become a conductor because I believe that the process of working with a group of different people, ideas and artists is truly magical. Contemporary art is a form of evolution, but classical music will survive.
published – December 27, 2024 08:00 AM IST
