A conductor, organist, harpsichordist and culture creator specialising in period performance of classical music ranging from Renaissance polyphony to Romantic symphony and opera. He studied in Krakow and Amsterdam and taught at the Academy of Music in Wrocław for a number of years. He has prepared many Polish premieres of great international repertoire for period instruments, which include Bach’s “St Matthew Passion”; Handel’s “Messiah”, “Theodora”, “Hercules”, “Amadigi”, “Sosarme”, “Tamerlano” and “Rodelinda”; Beethoven’s “Missa solemnis”; Mozart’s “Le nozze di Figaro” and “Don Giovanni”, to name just a few.
He has performed at a number of prestigious festivals and venues, most recently at Wratislavia Cantans, the Festival of Polish Music, the concert hall of the Polish National Radio Symphony Orchestra, SWD Festspiele Schwetzingen, Bachfest Leipzig and Händel Festspiele Halle. In particular, he is esteemed for his performances of vocal and instrumental pieces.
In 2008 he was appointed General and Artistic Manager of Capella Cracoviensis, an institution of culture which is a chamber choir and period instrument orchestra based in Krakow. In the recent years Capella Cracoviensis has become an exemplary model of successful management as the orchestra belongs to the most important ensembles in Europe specialising in historical performance practice, while the reputation of the choir, because of the exceptional colour and vividness of sound, has been growing among the best record labels.
As a culture creator, Jan Tomasz Adamus stood behind the launch of Theatrum Musicum, a joint project developed by music institutions of Krakow which is turning into one of the biggest classical music scenes in Europe. Since 2000 he has been Artistic Director of the Bach Festival Świdnica, one of the largest and most recognisable festivals organised outside major centres of musical life and, at the same time, a remarkably organic and culture-forming event. His numerous recordings include solo organ repertoire, Polish old music, Romanticism on period instruments (Chopin, Schubert) and contemporary music (Arvo Pärt).
Recently, together with Capella Cracoviensis, he has carried out a number of extremely innovative stage projects including operas, crossover projects and social performances (Mozart’s “Le nozze di Figaro”, Handel’s“Amadigi di Gaula”, Gluck’s “Orpheus and Eurydice”, as well as Monteverdi in a milk bar, Mendelssohn performed by a choir in the woods, and Mozart’s “Requiem” as karaoke). He is involved in the work of Opera Europa, an international organisation for opera houses and festivals from across the world.
Pic. Piotr Kucia