Parisian Night in Kraków – Aleksandra Maurer in concert

Aleksandra Maurer performing during the Parisian Night in Kraków, an event produced by the Cellar Under the Rams.
After WWII, Poland found itself behind the Iron Curtain, becoming part of the Eastern Bloc, and joined the states under Soviet control. Until 1989, communism was the order of the day and it decreed a unified, top-down template that applied to all activities, including arts and culture. Back then, the primary function of cultural institutions was to sing the praises of the communist state. But even during these hard times there were places, organisations, movements that provided enclaves of limited freedom, of respite from the oppressive and bleak reality of the Polish People’s Republic. The Cellar under the Rams, a literary cabaret housed in the basement of Potocki Palace in the Old Town’s Main Square in Kraków, was one of such distinctive phenomena. Founded in 1956 by the then students, among others its artistic director Piotr Skrzynecki, visual artist Bronisław Chromy, and composer Krzysztof Penderecki, it soon skyrocketed to fame. This unassuming basement became the stamping ground for Kraków intellectual and artistic circles: physicians, lawyers, painters, photographers, writers, musicians, sculptors, actors, film and theatre directors. It was a magnet both for celebrity scientists and for bohemians. Performances staged in The Cellar, song lyrics, outdoor events, and zany jubilee bashes laid bare the absurdities of the system. To artists and audiences alike, they served as a counteraction to the complex and hypocritical lived experience of communist Poland. In the 1960s, jazz music, which the state authorities did not endorse, also found a safe haven there. Soon, Piotr Skrzynecki (1930–1997) became the driving force of The Cellar. A living legend in his lifetime, Skrzynecki was an eccentric compere, an unparalleled improvisor, an all-round artist, and a mover and shaker behind events organised on-site. In 1989, artists associated with The Cellar – not unlike the majority of Polish society – rejoiced at the fall of communism in Central Europe. Skrzynecki died in 1997, closing behind the original chapter in the history of the most notable late twentieth-century Polish cabaret. Countless esteemed artists graced The Cellar’s stage, including pianist Krzysztof Komeda, trumpeter Tomasz Stańko, singer Ewa Demarczyk, and film score composer Zbigniew Preisner. In its heyday, the club enjoyed a wide network of high-profile friends and well-wishers, such as film director Andrzej Wajda, writer and Nobel Laureate Czesław Miłosz, playwright Sławomir Mrożek, and journalist Jerzy Turowicz. The cabaret remains active to this day: some of the old-time artists are still around, just as they were thirty or forty years ago; seasoned audience members still frequent the club, introducing new generations to the legendary haunt.
Aleksandra Maurer made her debut in the Cellar Under the Rams in 1971. Almost instantly, at the beginning of her musical journey with the cabaret, she performed Rainer Maria Rilke’s “Day in Autumn” [Modlitwa], arranged by Marek Jarocki, at a jubilee concert in the Juliusz Słowacki Theatre in Kraków. Fearing her parents’ criticism, the young artist did not even let on that she was part of the cabaret. After all, she moved to Kraków to study Roman languages, rather than to sing. But one day, during a folklore class led by Aleksander Macedoński, Leszek Długosz and Zygmunt Konieczny heard her performing a song in French. The men invited her to an audition. She did not show up, as fear took the better of her. Konieczny and Piotr Skrzynecki took the initiative and attended her low-key recital at the French Institute in Kraków. They managed to convince her to join the cabaret and that is how her forty-year adventure and artistic affiliation started.