Opera is life-giving – in conversation with photographer duo Kinga Karpati and Daniel Zarewicz
Kinga Karpati and Daniel Zarewicz have documented the world of opera for years. They collaborate with artists and prestigious theaters. Their photographs — featured in program brochures, on posters, album covers, and large-format banners — have become an integral part of many singers and creators’ public image. They talk to Polish Opera Now about the challenges of their work, the role of photography in building an artistic career, and capturing the magic of emotions and sensual experiences during a performance.
Why did you choose to photograph the world of opera?
Kinga Karpati: It combines all arts genres. Can you ask for anything more? There is nothing higher. Opera is like Mount Everest of human creativity.
Daniel Zarewicz: You can answer in one sentence — out of love for art — or you can elaborate a little… Opera is the highest form of art ever created by man. In opera, nothing is impossible. The people who create opera are constantly evolving, and we know and feel that we not only accompany them in this growth — they need us. That’s our greatest joy and motivation. Let me say it with full conviction: opera is life-giving.
How do you choose the artists you work with? Are most collaborations initiated by the artists, or do you initiate sessions with people who inspire you?
DZ: There is no set path. Most often, the artists reach out to us. Sometimes institutions invite us to do sessions for individual artists or ensembles. Many of our sessions come from encounters at events we are documenting. And who inspires us? The artists themselves — talented, hard-working people who have chosen self-improvement as their professional path. Their lives are full of unpredictability. That fascinates us and amplifies our joy when we finally meet and create something beautiful together. We feel that the fruits of our labor go out into the world and become our calling card.
KK: If we were the ones initiating sessions with inspiring people, we would probably have to propose photo shoots to all artists! People are the most interesting subjects to photograph, and in my personal definition, an artist is a human… intensified!
How do you prepare for portrait sessions?
KK: Our mindset is the key. We look for what’s most essential, most fascinating, strongest, and most beautiful in a person. A session is, above all, a meeting with another human being.
DZ: Every time we plan a session, it feels like something special is happening. Artists choose us, which means they place their trust in us. After all, how people see them — on posters, in programs, online — is in our hands. There’s no one formula for a good session. Every person needs an individual approach, understanding their needs and building mutual rapport. It is a dialogue that begins when we agree to work together and continues until we deliver the final images.
You work not only in Poland but also photograph Polish opera singers abroad.
KK: We love international sessions, mainly because they allow us to create images that would not happen anywhere else and which we could not possibly stage. I remember a moment in Zurich when Tomasz Konieczny (bass-baritone) sat on stone steps by the Limmat River and started singing, and then a swan floated over — it looked like Tomasz was singing for it. We caught that moment in a photo. I would never have dreamed up a concert for a swan!
DZ: A great example is a session with Hubert Zapiór (baritone) in Rome. He was there on a scholarship, living in a dreamy attic apartment by Piazza Navona. The highlight of our stay was shooting at dawn, on an utterly empty square by the Trevi Fountain. We felt a bit like characters from Fellini’s “La Dolce Vita,” from the wild 60s when Rome was a mecca for a chosen few. Everything was perfect — except Hubert did not wade into the fountain! Moments like that stay with you forever.
What was your most unexpected session?
DZ: We love when reality surprises us. The most unexpected session? Photos with Peter Gelb, director of the Metropolitan Opera, backstage at the Polish National Opera. We met during the Ukrainian Freedom Orchestra concert conducted by Keri-Lynn Wilson. Kinga suggested we do a quick portrait session, and Peter agreed to give us 15 minutes. We finished the shoot in the theater’s freight elevator, but it turned out that was not the end…
KK: …because while joking about how much bigger the freight elevators must be at the Met, Peter invited us to see for ourselves. Two months later, we were at the Metropolitan Opera, where we photographed a “Malcolm X” rehearsal and the costume and model-making workshops the following day.
Photographing concerts and performances differs from portrait sessions. Is it important to know the show in advance?
KK: Not necessarily. Usually we are “hunting” for frames without knowing how the stage action will unfold. That’s why full engagement is essential. And it is incredibly thrilling.
DZ: And exciting, you feel like a bomb disposal expert — you can’t make mistakes. That gives us an adrenaline rush and requires total focus… and it always has to work out. In concert and theater photography, experience is crucial, as is knowing how to work in those environments. That helps us get the job done without disturbing the artists. Discretion and reflexes are also key — there are no re-takes when photographing live action. The results must reflect the teamwork of many people.
What are the biggest challenges of working in the often unpredictable and difficult lighting conditions of concerts and performances?
KK: It is about showing the artists — especially singers — in a flattering way. We have to react instantly to lighting changes, stage action, and how all the elements fall into the frame. When we photograph a performance, we know we are working for the theater, the director, the artists, and the audience. Our photos become part of the history of the theater and cultural heritage. That’s a big responsibility, so we try to capture everything: choreography, costumes, and set design.
DZ: As I said earlier, our main focus is the human being. Showing artists in their full strength and form is our mission. We know how much work it takes to stay in peak condition, and we deeply respect that. The key to working in changing conditions is our years of experience, and knowing how a theater operates helps us handle unexpected situations. Technique — and knowing how to apply it
Is there a session or project you have dreamed of doing but could not realize?
DZ: Philosophically speaking, our dream come true is being able to live the life we love and make a living from it. We deeply appreciate that our job is also our passion. As for the essence of your question — I cannot think of such situation. Some sessions happen sooner, others later. We believe that we and the artists grow into meeting each other at the right moment.
KK: We do not think in terms of unfulfilled dreams. We always add the word “yet” — some things have not happened “yet” because they require more time or a shift in approach. What some see as obstacles, is a signal to change direction for us.
What is the key message you want to convey in your photos?
KK: I will answer somewhat idealistically. I believe some people have wings, and I would like those wings to be visible in our photos. We want to show people in the fullness of their power.
DZ: I would add that I want our photos to give artists the sense that they are exceptional, that they can be proud of themselves here and now, and that they are ready for future challenges. These days, manners and visual appeal can matter just as much as vocal and musical skills. A good portrait boosts an artist’s confidence and influences how they are perceived by managers, directors, and fans — it shows they are professionals through and through.
What are your upcoming photography plans? Is there a project you you would like to share?
KK: I will just respond with a mysterious smile…
DZ: Of the many plans and ideas, we are not revealing any — because we ourselves love being surprised by what fate brings us.
Thank you for the conversation.