Polish composer Beniamin Baczewski is one of the three composers contributing to The Project Butterfly Opera. We had the pleasure of speaking with Beniamin about his work on the opera, the specifics of his current compositions, and his reflections on the team collaboration and power of opera in reaching the audience. 

From being captivated by the students’ stories to diving into the composition process for The Lake of Ashes, Beniamin shares his journey of creating music that blends ancient art with modern themes. His hope? To craft an opera that not only enchants audiences but also carries a powerful message of sustainability and respect for our planet.

What were your first impressions of the stories written by the students?
First of all, I was incredibly impressed by the high quality of these stories, especially considering they were written by such young people. They exhibit not only sensitivity but also maturity. All three stories were perfect for an opera, making it difficult to choose just one, but we unanimously selected “The Lake of Ashes.” The story is so colorful and picturesque that after the first reading, I knew it would be well-suited for composition. The content itself suggests the mood and sounds. This will be a very rewarding story to write music for. It contains a lot of magic, and I already have many ideas. The form of the libretto reminds me of ancient art, Greek mythology, which also inspires specific actions in the composition. I’m excited that the scenes will be diverse, with both dynamic scenes and more tranquil moments. I feel this libretto contains everything a good opera should have, and I am thrilled to be the one creating music for it.

How was it like to meet with the rest of the creative team in Gdansk?
It was an incredibly inspiring meeting, especially since the team includes amazing individuals with extensive experience in creating operas. This is my first time, so I am grateful to draw from their experience and wisdom. I feel particularly honored to be the youngest in this group, knowing that I can learn a lot from my older, more experienced colleagues. It’s encouraging that we think similarly and see many common elements in our creative styles. Our shared vision of art and music will make this project cohesive.

What aspects of the opera did you have the opportunity to work on during the residency?
We mainly worked on the libretto, instrumentation, and vocal casting. We also discussed the preliminary division of the musical form in the work.

What are your next steps in the opera production?
The next and most important step for me is the composition process, which is already underway. Everyone now has their tasks to complete before our next meeting. The entire composition process will continue until October, and in the meantime, we will meet online to share and discuss our progress. In October, we will meet in Modena, where I will be able to present the final shape of the opera from a musical and compositional perspective.

What do you hope the audience will take away from this opera both artistically and in terms of sustainability?
Above all, I hope the audience enjoys our opera. I want it to become a permanent part of music history and to be performed even after Project Butterfly ends. I hope it finds its place in the repertoire alongside operatic classics like Verdi and Puccini. Despite its fantastic storyline, the opera carries an important, socially relevant message. It calls for respect for our planet and emphasizes the need to protect nature. Although the plot addresses the ecological theme in a seemingly fantastical and fairy-tale manner, it is a metaphorical appeal to recognize our significant impact on the future of our planet. It is our responsibility to ensure that our children and grandchildren can continue to enjoy its benefits.