2019 Metropolitan OPera National Council Auditions
Tenor Piotr Buszewski followed, singing “Seul sur la terre,” from Donizetti’s “Dom Sebastien.” The dreamy harp introduction was punctured by passionate high strings, and in this musical atmosphere Buszewski displayed a highly soulful quality with his opening phrases. As he is swept along by this passion, Buszewski’s high Cs were handled with both strength and accuracy. His second aria, “Cisza dokola, noc jasna, czyste niebo,” comes from Moniuszko’s seldom-performed opera “The Haunted Manor.” The excited phrases often gave way to sustained notes, with Buszewski alternating between anger and apprehension. His anguished delivery was enough to draw applause from the audience, even before the aria was finished.
One performer who chose not one but two unusual selections was Polish tenor Piotr Buszewski, who I first heard last year in a very, very early Donizetti one-acter, IL PIGMILIONE, at NYC Opera. His Donizetti on this program, "Seul sur la terre," was from an opera only slightly better known, DOM SEBASTIEN, and while it was a pleasure to hear him in a later (1837), more sophisticated Donizetti than his previous outing, he was shown to his best in an opera completely foreign [in all senses] to these shores.
While Stanislaw Moniuszko's THE HAUNTED MANOR (STRASZNY DWOR) may be considered one of the most important Polish operas (from the mid 19th century), it's hardly known by more than the rarified cognoscenti (and Polish opera lovers, I suppose) here. The aria chosen by Buszewski was gorgeously melodic--and showed off his lyric voice quite well in an ardent performance--and made me curious about more of the opera.
2018 Leyla Gencer Voice Competition
Buszewski paid impeccable attention to the score, with the legato diminuendo on “muta d’accento” and “in pianto o in riso” sung precisely as indicated. There was an excellent crescendo on the second “muta d’accento” leading to a deliciously leggere “e di pensier” and the four bar F sharp fermata had a Pavarotti-ish ping with a similarly refulgent crescendo and con forza conclusion. During the da capo there was a stirring G-sharp fortissimo fermata on “d’accento” and the concluding high B natural showed solid spinto strength with a commanding squillo. Perhaps the acciaccature could have been slightly crisper but the overall interpretation was original and eloquent. Buszewski is a tenor to watch.
As her persistent suitor Léandre, Piotr Buszewski sang with a notably lovely high tenor and in admirable French style.
Piotr Buszewski brought elegant vocal manners to the lovelorn Léandre
The Polish tenor Piotr Buszewski gave an ardent, lyrical performance of the lover Léandre (and carried his sweetheart passionately up the long staircase at the end of the curtain calls)
The Boston Music Intelligencer
Le Médecin malgré lui
Boston, November 2018