Fantastica Ensemble breaks conventions and unveils early music in a new light. We create interpretations full of passion, expression, and unexpected contrasts, restoring the true intensity and emotional depth of centuries-old music. For us, early music is not a museum artifact but a living art form—charged with drama, tension, and extraordinary energy that we want to share with contemporary audiences
We seek sounds that move and surprise. Our concerts are encounters with early music and its profound depth, proving that Baroque remains relevant and continues to resonate across generations.
Our mission is to transcend boundaries – not only stylistic but also mental. We believe that early music can be an intense, emotional experience and that concerts can become a space for an authentic dialogue between past and present.
We embrace bold interpretations and a unique approach to performance, ensuring that every sound is genuine and purposeful.
ALEKSANDRA
OWCZAREK
Music without compromise, sound full of emotion.My music is a constant search—of sound, meaning, and tension. The Baroque violin is not just a historical instrument to me; it is a tool for expressing what matters most in music: authenticity and emotion. Every note can be a scream, a whisper, an echo of the past, or the pulsating energy of the present.
I graduated from the Krzysztof Penderecki Academy of Music in Kraków, studying under renowned specialists such as Sirkka-Liisa Kaakinen-Pilch and Zbigniew Pilch, and honed my skills in masterclasses with Antoinette Lohmann, Jorge Jimenez, Bruno Cocset, and Aureliusz Goliński. I was a member of Musicae Antiquae Collegium Varsoviense at the Warsaw Chamber Opera, and starting in December 2024, I will be joining Capella Cracoviensis—one of Poland’s leading early music ensembles. In my playing, I seek the space between sound and emotion, between history and the present. Neutrality doesn’t interest me—truth does.
My goal is to show that early music is not a static artifact but a living, breathing force that can engage and fascinate just as much today as it did centuries ago.
I want to break down the walls of elitism, creating a space where everyone can experience its beauty—regardless of their background in classical music. For me, music is where the past meets the present, where tradition becomes a catalyst for new forms of expression.
I want every concert to be not just an auditory experience but an emotional journey—one that transports the listener to another world, if only for a moment.
OWCZAREK
KLAUDIA
ŁOBODA
The harpsichord fascinates me with its duality. On one hand, it is precise and raw; on the other, it is soft, resonant, and filled with an unmistakable expression just waiting to be unlocked. It is an instrument that is not an easy partner, yet it offers endless possibilities. Every sound it produces feels to me like a word in theater or a gesture in dance. The harpsichord has its own unique language—one that is profoundly moving, capable of sounding like the pulse of a city, a whisper, or a cry.
I studied at the Academy of Music in Kraków in the harpsichord class of Dr. Aleksander Mocek and Prof. Marek Toporowski, as well as in the basso continuo class of Dr. Ewa Mrowca. I also pursued studies at the Royal Conservatoire in The Hague, refining my skills under Carole Cerasi, Patrick Ayrton, and Richard Egarr. I have received numerous awards, including Second Prize at the II National Harpsichord Competition in Kraków (2017), a double First Prize and Second Prize at the VIII Wanda Landowska Harpsichord Competition in Italy (2019), and the Special Prize at the H.I.F. Biber International Competition (2023). I have performed across Europe, from Finland to the UK, collaborating with ensembles such as Opera Rara, Handel Opera Academy, and Misteria Paschalia. Since 2024, I have been a member of Capella Cracoviensis.
ŁOBODA
I seek out emotions within it that can move today’s listeners just as deeply as they moved people centuries ago. For me, music is not only about beauty but also about authenticity—one that does not shy away from pain or suffering. I don’t want to mechanically recreate the past, because early music is a living space where tradition, gesture, dance, and storytelling come together. I love experimenting with dynamics, articulation, and rhythm, drawing inspiration from everything around me—from traditional art to jazz, and even pop music. I don’t believe in boundaries in art—music is not confined to a single era or aesthetic. When I play, I aim to bridge the past with the present. Every concert is a story in which the harpsichord is not just an accompaniment but a full-fledged narrator.
I strive for early music to be experienced as it was when it was first composed—as something captivating and full of life.
Our work has been recognized in international competitions—we received the Special Prize at the H.I.F. Biber International Competition (Austria, 2023), First Prize at the III KraCamera Chamber Music Competition (2023), and the Special Prize for “the most creative performance” at the 12th International Maurizio Pratola Early Music Competition (Italy, 2024). We also won the Da Vinci Young Sounds competition (2023), leading to the recording of our debut album in collaboration with Da Vinci Records. Thanks to the Creative Scholarship of the City of Kraków (2024), we recorded our second album dedicated to the works of H.I.F. Biber for the Ars Sonora label. We perform on both national and European stages, appearing in Poland, Austria, Finland, the Netherlands, and Germany. We create original projects that go beyond concerts—they are expressive, theatrical narratives where tradition meets modernity. We also pave new paths by collaborating with artists from various disciplines, bringing to life projects like “Mystery. Everyone is Losing Someone.”
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