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

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 Halka/Haiti. 18°48′05′′N 72°23′01′′W 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 Halka in Haiti. I focus on key operatic works, examining the tensions and ambiguities they contain. I raise questions about the changing reception of Halka – from a socially engaged poem to a national opera – as well as the possible readings of The Haunted Manor, 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 Krakowiacy i Górale 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.