Interview with Anna Sułkowska-Migoń

"I am always looking for emotions within myself."

The Krakow-born conductor won first prize at the "La Maestra" competition in Paris in March 2022. Since then, she has performed regularly with all the major Polish orchestras and made her debuts with the Deutsches Symphonie-Orchester Berlin, the Orchestre National de Lille, the National Arts Centre Orchestra in Ottawa, and the Philadelphia Orchestra in the 2023/24 season. She will make further debuts in North America and Europe in the coming seasons. In 2023, she was awarded the Neeme Järvi Prize by the Gstaad Conducting Academy. The jury members were Jaap van Zweden, Mirga Gražinytė-Tyla, and Johannes Schlaefli. Sułkowska-Migoń is a champion of Polish composers and conducted a commemorative performance at the Oregon Bach Festival in July 2023 to mark the 25th anniversary of the premiere of Penderecki's Credo. In April 2023, she conducted a special concert at the Teatr Wielki in Warsaw featuring works by Mieczysław Weinberg and Elżbieta Sikora to commemorate the 80th anniversary of the Warsaw Ghetto Uprising. Anna Sułkowska-Migoń is the recipient of the "Top Prize" within the framework of the Taki Alsop Conducting Fellowship 2022–2024. As an instrumentalist, she completed her Master's degree with a focus on viola at the Fryderyk Chopin University of Music in Warsaw and earned a further Master's degree from the Krzysztof Penderecki Academy of Music in Kraków, where she specialized in orchestral and choral conducting.

They also enjoy conducting choirs and orchestras. How does one inspire the other?
Choir members use their voices, a natural instrument of the body, which creates a different kind of bond during the musical creation process, a relationship between the ensemble and the conductor. I must admit that I miss working regularly with choirs, including in the a cappella repertoire. The ability to breathe in unison with the choir certainly helps when working with the orchestra, and conversely, the technical discipline of conducting the orchestra helps in leading the choir with clarity. When speaking of mutual inspiration, one mustn't forget the text, which plays a role in choral practice. It allows the orchestra to perfectly convey the character of the music.

What do you think is the biggest challenge for a female conductor?
I think it's worthwhile to be yourself, regardless of gender, and not to try to forcibly imitate others, even if it's difficult. From a female perspective, I can say that the challenge for me is being a mother, wife, friend, and conductor at the highest level. In every role, I demand 100% of myself, and sometimes that's simply impossible. I'm constantly rediscovering myself, but I'm glad that I have such an opportunity and that more and more institutions are helping to combine a career with motherhood.

You were born in Krakow and are committed to the work of Polish composers. Is there a common thread among current compositions from Poland?
I always try to convince the institution to present a Polish piece. I think the role of a guest conductor gains value when we can show something new, yet familiar. That's why I also suggest lesser-known compositions by composers like Mieczysław Karłowicz, Feliks Nowowiejski, or Grażyna Bacewicz. Of course, I also like to draw on the world-renowned Polish repertoire (Fryderyk Chopin, Karol Szymanowski, Witold Lutosławski, Krzysztof Penderecki). In recent years, I've noticed an interest in the voice and inspiration from folk music among young Polish composers.

You yourself studied viola. Do you still play today?
Unfortunately, only very rarely; sometimes I play with my husband, but during the holidays I plan to return to my favorite solo pieces from my student days.

You recently conducted the new production of the opera "Eugene Onegin" in Bern. What is it like Bern Symphony Orchestra working
It was a fantastic experience. It's worth noting that during the preparation for the production, I spent much more time with the soloists, the chorus, the director, the pianists, and the members of the production team who aren't visible on stage and whose work is extremely important. I remember our preparation period very well—full of respect, mutual support, and a good atmosphere. With the orchestra, the work goes much faster—it takes about a week, and clarity of conducting is important because the orchestra's composition changes.

Why do you think there are so few female conductors?
It's a difficult profession that requires a strong character, support, self-confidence, and self-discipline, but also involves frequent travel. Not everyone can cope with it, although I don't feel there are only a few female conductors. Certainly fewer than men, but the number of women in this profession is growing every year. For me, it's important that a conductor is competent and good.

What are your musical goals and visions?
With every project, I try to work on my conducting technique, I look for better solutions, I analyze my gestures to be as effective and helpful as possible, but I always search for emotions within myself and try to sing certain musical phrases; that's when I feel the music best. I don't want to lose that.
It's difficult for me to say where I see myself in ten years. We'll see what the future holds.

Is there a particular orchestra you would like to conduct, and why?
I have certain musical dreams, but I enjoy and appreciate working with every orchestra.

What are your passions outside of music?
There are many. I love to travel in unconventional ways – by kayak, bicycle, or tent. I enjoy being in nature and among people. I like spending time in our mountain cabin, cooking and baking in my free time, reading books by the fireplace, or simply lying in the grass and gazing at the sky while listening to the sounds of nature. I regret that I no longer have time for scouting and tennis training, but it's time for new challenges.

Interview by Florian Schär | Classicpoint.net | April 1, 2025
© Image: Grzegorz Mart