Lilianna Krych

A con­duc­tor and mem­ber of the cre­ative group Hash­tag Ensem­ble, she co-leads Hash­tag Lab, over­see­ing its diverse range of activ­i­ties. She is the founder of the vocal ensem­ble Match Match Ensem­ble and was nom­i­nat­ed for the Pasz­port Poli­ty­ki 2022. In the 2023/2024 sea­son, she is a par­tic­i­pant in the Brit­ten-Pears Young Artist Programme.

She believes in mak­ing music edu­ca­tion acces­si­ble to every­one, which is why, among oth­er things, she runs the Hash­tag Ensem­ble Sum­mer Acad­e­my and con­ducts the orches­tra at the O. Kol­berg State Music School in Warsaw.

The main focus of her artis­tic work is opera and con­tem­po­rary music. She is fas­ci­nat­ed by the inter­sec­tion of var­i­ous art forms: opera, the­ater, music, visu­al arts, as well as work­ing with­in the realms of voice, body, and move­ment. She views music and the­ater as tools for ana­lyz­ing and com­ment­ing on real­i­ty. She is par­tic­u­lar­ly proud of the real­iza­tion of the fol­low­ing operas and per­for­mances: DARC direct­ed by Krys­t­ian Lada, Solaris and Birdy by Karol Nepel­s­ki and Walde­mar Raź­ni­ak, Fake Opera by Woj­ciech Błaże­jczyk, The Rape of Lucre­tia and The Turn of the Screw by Ben­jamin Brit­ten, Luci mie tra­ditri­ci, Super­f­lu­mi­na, and Aspern by Sal­va­tore Scia­r­ri­no, as well as Lit­tle Thun­der. Świę­ta Katarzy­na ze Sieny with music by Katarzy­na Szwed, based on the con­cept by Julian­na Bloodgood.

More at: www​.lil​ian​nakrych​.pl