Opera in Poland: At the Intersection of Class and Nationality
Opera in Poland: At the Intersection of Class and Nationality

Summary/Abstract: This article explores the history of opera in Poland through the lens of nationality and class. Drawing on Michel Foucault’s concept of the archaeology of knowledge, I analyse canonical operatic works not only as individual artistic creations, but also as theoretical objects in which multiple discourses intersect. My point of departure is the project <i>Halka/Haiti. 18°48′05′′N 72°23′01′′W</i> by C.T. Jasper and Joanna Malinowska, which focuses on national themes while offering limited reflection on the class implications of staging Stanisław Moniuszko’s <i>Halka</i> in Haiti. I focus on key operatic works, examining the tensions and ambiguities they contain. I raise questions about the changing reception of <i>Halka</i> – from a socially engaged poem to a national opera – as well as the possible readings of <i>The Haunted Manor</i>, whether through the lens of Polish Biedermeier culture or romanticised Sarmatism. I also consider the complex role of national identity in shaping the image of Moniuszko himself. In the case of <i>Krakowiacy i Górale</i> by Wojciech Bogusławski and Jan Stefani, I reflect on interpretations that emphasise either its national or class dimensions. Finally, I examine the early history of opera in Poland, looking at the court theatre of Władysław IV as both a source of entertainment and a tool of political ideology. By taking an ‘archaeological’ approach to opera, I show how discourse around Polish opera tends to highlight its national aspects while pushing questions of class to the margins.

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