WorldCat Identities

Woytowicz, Stefania

Works: 333 works in 710 publications in 8 languages and 4,420 library holdings
Genres: Musical settings  Operas  Live sound recordings  Music  Requiems  Oratorios  Sacred music  Motets  Symphonies  Interviews 
Roles: Performer, Singer, Other, Vocalist
Classifications: M1500.P83, 782.1
Publication Timeline
Most widely held works by Stefania Woytowicz
Tosca by Giacomo Puccini( )

11 editions published between 1961 and 2009 in 3 languages and held by 462 WorldCat member libraries worldwide

Book (125 p. :
Dies irae; oratorio dedicated to the memory of those murdered at Auschwitz by Krzysztof Penderecki( Recording )

10 editions published between 1967 and 1971 in Latin and held by 294 WorldCat member libraries worldwide

Passion according to St. Luke by Krzysztof Penderecki( Recording )

8 editions published between 1966 and 1984 in Latin and Undetermined and held by 247 WorldCat member libraries worldwide

Stabat Mater, op. 58 by Antonín Dvořák( Recording )

27 editions published between 1962 and 2010 in 4 languages and held by 237 WorldCat member libraries worldwide

Stabat Mater by Giovanni Battista Pergolesi( )

11 editions published between 1962 and 2012 in 3 languages and held by 229 WorldCat member libraries worldwide

Stabat Maters van diverse componisten
Utrenja : the entombment of Christ by Krzysztof Penderecki( Recording )

6 editions published between 1971 and 1972 in 4 languages and held by 165 WorldCat member libraries worldwide

St. Luke Passion ; To the victims of Hiroshima by Krzysztof Penderecki( )

3 editions published in 1967 in Latin and held by 161 WorldCat member libraries worldwide

La fabbrica illuminata ; Ha venido, canciones para Silvia ; Ricorda cosa ti hanno fatto in Auschwitz by Luigi Nono( Recording )

15 editions published between 1960 and 1992 in 5 languages and held by 145 WorldCat member libraries worldwide

War requiem by Benjamin Britten( Recording )

7 editions published in 2000 in 3 languages and held by 145 WorldCat member libraries worldwide

Public awareness of Benjamin Britten's person and works advanced dramatically -- even explosively -- twice during his lifetime. The first time was in 1945, when his opera Peter Grimes was produced for the postwar reopening of Sadler's Wells Theatre in London. The second time followed the premier at Coventry and the subsequent series of performances all across Europe and North America of the War Requiem. Except to those provincials who thought that milky pastoral was the only idiom appropriate for an Englishman and who also found the young Britten too clever by half, the triumph of Peter Grimes marked not just the confirmation of a prodigious talent; it represented a moment of hope that, for the first time since the death of Henry Purcell in 1695, England had produced a composer of international stature. The impact the War Requiem made 17 years later was wider and deeper by far. Britten, approaching 50, had become an artist whose every new utterance was awaited with the most lively interest and the highest expectations. The War Requiem, moreover, was tied to a pair of events that were heavily freighted with history and emotion: the destruction of Coventry Cathedral in an air raid during the night of November 14-15, 1940, and its reconsecration more than 21 years later. Its first performance was planned as an international event with respect both to participants and audience. Most importantly, the War Requiem was a weighty and poignant statement on the subject of piercingly urgent concern to much of humankind. In the War Requiem, Britten drew on forces larger and more complex than in any previous work of his. The basic division of the performers is into two groups, reflecting the dual source of the words; the libretto stands in a relation of text (the Latin Missa pro defunctis) and commentary (the nine Owen poems). The Latin text is essentially the province of the large mixed chorus, but from this there is spillover in two opposite directions: the solo soprano represents a heightening of the choral singing at its most emotional, while the boys' choir represents liturgy at its most distanced. The mixed chorus and solo soprano are accompanied by the full orchestra; the boys' choir, whose sound should be distant, is supported by an organ. All this constitutes one group. The other group consists of the tenor and baritone soloists, whose province is the series of Owen songs; they are accompanied by the chamber orchestra. - Program notes / Michael Steinberg
Sinfonie Nr. 3 für Sopran und Orchester : Sinfonie der Klagelieder = Symphony no. 3 for soprano and orchestra : Symphony of sorrowful songs ; Drei Stücke im alten Stil = Three pieces in olden style by Henryk Mikołaj Górecki( Recording )

11 editions published between 1983 and 1988 in Polish and No Linguistic content and held by 126 WorldCat member libraries worldwide

Polish Requiem ; Dies irae by Krzysztof Penderecki( Recording )

6 editions published in 1989 in Latin and held by 120 WorldCat member libraries worldwide

Kosmogonia : für Solisten, gemischter Chor und Orchester ; De natura sonoris II : für Orchester ; Anaklasis : für Streicher und Schlagwerkgruppen ; Fluorescences : für Orchester by Krzysztof Penderecki( Recording )

2 editions published in 1974 in No Linguistic content and Undetermined and held by 114 WorldCat member libraries worldwide

Utrenja by Krzysztof Penderecki( Recording )

9 editions published between 1971 and 1973 in 4 languages and held by 113 WorldCat member libraries worldwide

Music from Poland, 1956-1961 by Poland) Filharmonia Narodowa (Warsaw( Recording )

4 editions published between 1967 and 2013 in Polish and held by 110 WorldCat member libraries worldwide

Three pieces in the olden style ; Symphony no. 3 ; Amen : for choir by Henryk Mikołaj Górecki( Recording )

4 editions published in 1988 in Polish and held by 107 WorldCat member libraries worldwide

Jutrznia = Utrenia by Krzysztof Penderecki( Recording )

14 editions published between 1970 and 2011 in 5 languages and held by 103 WorldCat member libraries worldwide

Krzysztof Penderecki by Krzysztof Penderecki( Recording )

1 edition published in 1989 in Latin and held by 79 WorldCat member libraries worldwide

Witold Lutosławski by Witold Lutosławski( Recording )

4 editions published in 1989 in Latin and Undetermined and held by 78 WorldCat member libraries worldwide

Symphony no. 2 : "Resurrection" by Gustav Mahler( )

3 editions published in 2011 in German and held by 77 WorldCat member libraries worldwide

Recorded live at London's Southbank Centre's Royal Festival Hall in September 2009, Mahler's Second Symphony is a compelling start to Jurowski's documentation of the great composer. The conductor's approach fully reveals the dynamic extremes in Mahler, emphasizing Jurowski's sensitivity and control. The London Philharmonic Orchestra has a long heritage with Mahler's symphonies cemented in a mid-European tradition
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Audience level: 0.47 (from 0.39 for Passion ac ... to 0.71 for South Aust ...)

WorldCat IdentitiesRelated Identities
Alternative Names
Stefania Woytowicz artiste lyrique

Stefania Woytowicz Polish concert soprano

Stefania Woytowicz polnische Sängerin

Stefania Woytowicz polsk sångare

Stefania Woytowicz polsk sanger

Stefania Woytowicz polsk songar

Stefania Woytowicz Pools zangeres (1922-2005)

Wojtowicz, Stefania.

Wojtowicz, Stefania 1925-2005

Woytowicz, S.

Woytowicz, S. 1925-2005 (Stefania)

Woytowicz, S. (Stefania)

Woytowicz, St.

Woytowicz, Stefania 1925-2005

Woytowitz, Stefania

Woytowitz, Stefania 1922-2005

Woytowitz Stefania 1925-2005

Стефания Войтович