LETTERS FROM TADEUSZ PORAYSKI TO WITOLD FRIEMANN AS A DOCUMENT OF THE ARTISTS’ COLLABORATION ON THE OPERA THE BASILISK

ne of the two librettists who were invited for collaboration with the composer Witold Friemann was the poet Tadeusz Porayski. The correspondence between the two artists reveals the challenging cooperation of a writer with a composer, including factual disputes over both certain solutions and the naming of the piece itself (whether it was to be an opera, an operetta, or maybe a vaudeville, or a musical comedy after all). The valuable element are the librettist’s keen insights into the creation of the various versions of the opera performed in person by the composer in Laski. Weaving national dances into the work – also at the librettist’s insistence – confirms both artists’ love of this trend. Their difficult collaboration that we observe in the letters, as well as the discussions they held in Laski – with Irena Friemann as the mediator – were finally crowned with success. A music and stage legend in five parts (three acts with a prologue and an epilogue) with lyrics by Porayski and music by Friemann entitled The Basilisk was created. Unfortunately, the composition was never staged in whole but only in fragments – which is also shown in the correspondence.
 Apart from discussions and finally, finishing the composition, which was the main topic of the correspondence, we also have deliberations concerning the efforts to have the opera staged, preparations of the text of the libretto and other matters connected with it. Another topic, also an important one, is the personal aspect – the poet’s concern about the health of the composer and his wife Irena and the emphasis of Friemann’s wise and inspiring attitude – “[…] These wise pieces of advice and the support I had in you were what I often missed so much in the hard years of my life”. Apart from that, there are announcements of social visits which confirm that the artists often met in Laski, even after the opera collaboration had ended. Important are also the tokens of remembrance in the form of nameday and holiday greetings cards that were sent to the Friemanns by Zofia and Tadeusz Porayski. 
 Their correspondence was carried out from 1954, which was the time when the artists established their libretto collaboration, to 1976 – which means it practically lasted until the Friemanns’ death as they died at the beginning of 1977. The letters touching on substantive issues are often elaborate and multi-aspect whereas personal threads are brief and concise, but they all maintain a high dose of recognition for the Friemanns, which is reflected in keeping the header phrased as Honourable Mr Professor, Honourable and Dear Mr Professor or Honourable Mr and Mrs (Friemann) until every last letter. Porayski’s letters are a valuable document showing the path towards the completion of an operatic work in terms of its verbal and musical sides.

