Zbigniew Wodecki – A star but not a big-headed one

He was one of the finest stage artists in Poland, yet he never let fame go to his head. You would never see him behaving like a big shot; he embraced a sense of normalcy and modesty. Zbigniew RYMARZ, a luminary of the Polish arts, reflects on Wodecki as we commemorate the 75th anniversary of his birth and the 8th anniversary of his passing.

Born on 6 May 1950, Zbigniew Wodecki would have celebrated his 75th birthday today. He left us eight years ago, also in May. An immensely popular singer, multi-instrumentalist, composer, and arranger, he also dabbled in television presenting and acting, leaving an indelible mark across various artistic domains. His accolades include prestigious awards at the National Polish Song Festival in Opole, where he made a memorable debut in 1972. Wodecki gifted the world with timeless classics such as ‘Lubię wracać tam, gdzie byłem,’ ‘Z tobą chcę oglądać świat,’ ‘Zacznij od Bacha,’ ‘Izolda,’ ‘Opowiadaj mi tak,’ and ‘Chałupy Welcome to.’ Additionally, he composed music for theatrical performances, including those staged at the prestigious Scena STU Theatre in Kraków, and was actively involved in charity events. He was also very hard-working. Wodecki’s association with the iconic theme song from the animated film 'Pszczółka Maja’ (Maya the Bee) remains a cherished memory for many Poles. Although he desired to step away from that connection, he embraced requests to perform the song with grace and enthusiasm. Zbigniew RYMARZ, a stalwart of the Polish stage, shares his recollections of Zbigniew Wodecki:

Zbigniew RYMARZ

Zbyszek was a unique embodiment of friendship and kindness. In all my years in this industry, I have never encountered anyone who spoke ill of him. His memory is cherished, even loved, by all, a rare testament in a community as discerning as ours.

I was privileged to witness his benevolence firsthand during the Grand New Year’s Concert for the Veteran Actors’ Home in Skolimów, coinciding with the celebration of my '140th anniversary.’ The event took place at the Polish Theatre in Warsaw in early January 2008, featuring an impressive lineup of performers, including Wodecki and my friends, Alicja Majewska and Włodzimierz Korcz.

Concert of Christmas carols and pastorals. On December 9, 2015 – CKK Jordanki in Toruń.  With the participation of Alicja Majewska, Olga Bończyk, Zbigniew Wodecki and Włodzimierz Korcz.

Alicja and Włodzimierz faced uncertainty when their television recording was relocated from Warsaw to Poznań, leaving them anxious about their ability to attend both events. Zbyszek Wodecki, encountering an even more challenging predicament, ultimately declined participation in the Warsaw concert. However, upon learning that Alicja and Włodzimierz were contributing to the Actor’s Home, he resolved to join them, stating: ‘Listen, I’ll also go in on.’ Despite not being obliged to do so and our relative unfamiliarity at that time, his warmth and kindness astounded me.

A year later, in October 2009, I initiated another concert for Skolimów at the Polish Theatre in Warsaw, once again inviting Zbyszek Wodecki along with many other esteemed artists. His performance was scheduled near the end of the program, and as he prepared to leave, he confided in me about his need to rush to Krakow for a radio recording. I remarked, ‘You should have informed us earlier when we set the order of performances; you wouldn’t need to hurry now.’ Without hesitation, he responded, ‘No, no, I didn’t want to disturb you.’ This succinct exchange captures the essence of his character.

Wodecki was one of the finest stage artists in Poland, yet he never let fame go to his head. You would never see him behaving like a big shot; he embraced a sense of normalcy and modesty. He interacted with colleagues of all status levels with ease, engaging with audiences through anecdotes from his storied career, always maintaining a sense of approachability. His youthful enthusiasm for life was vividly reflected in his lush hair, carefree demeanour, and infectious smile. I embraced him for precisely who he was.

An artist meticulously prepared for the stage, Wodecki’s musical prowess was undoubtedly influenced by his family’s rich artistic heritage. His father played the trumpet in the Polish Radio and Television Symphony Orchestra in Krakow, while his mother was a soprano and his sister a cellist with the Krakow Operetta. Zbyszek himself was adept at the violin, trumpet, and piano, cultivating his musical foundation in Kraków alongside luminaries like Marek Grechuta and Ewa Demarczyk, whom he accompanied during international performances in his early years.

As he ventured into public singing, Wodecki swiftly captivated audiences with his warm and resonant voice. He approached his craft with earnestness, striving to convey the song’s essence, fully aware of his audience and the importance of clear diction – a quality increasingly rare in contemporary performances, yet one that Wodecki embraced wholeheartedly.

Zbyszek often teamed up with talented artists like Zdzisława Sośnicka, Alicja Majewska, and Halina Frąckowiak. They all held him in high regard and invited him to share the stage with them. What set Zbyszek apart was the depth and thoughtfulness behind each duet. These performances were not just random pairings where one person would claim the first and third verses while the other took the second and fourth. No way! Instead, they crafted their songs with care, bringing something meaningful. In contrast to many performances today, which often leave audiences feeling like they have just watched a bunch of hip-swinging and heard nothing but screaming.

Had Zbyszek been born and cultivated his talents in the West, his career trajectory would have undoubtedly differed; he would have ascended to the status of a global superstar. In Poland, he achieved remarkable success, yet one could only speculate that he attained a fraction of what his talent truly warranted.

Wodecki often composed his songs with an inclination to follow them with exquisite violin performances. I rue the missed opportunity to request his rendition of the exquisite pre-war piece ‘Cicho grajcie mi znów o cygańskie skrzypeczki,’ certain that he would have delivered a stunning interpretation.

Interviewed by Karolina Prewęcka

Zbigniew Rymarz stands as an iconic figure in the realm of Polish performing arts. Approaching the remarkable milestone of a century, this pianist, composer, arranger, accompanist, educator, and documentary filmmaker remains actively engaged in his profession, captivating audiences with his remarkable memory and forward-looking aspirations. He served as an assistant to the renowned Ludwik Sempoliński, collaborated with numerous theatres across Poland, and worked with the Polish Social and Cultural Centre in London.

Source: DlaPolnii.pl

Photo: http://www.wodecki.pl/