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Szanowni Państwo,

Jest naszym zamiarem, aby strona internetowa opera.info.pl, w niedalekiej przyszłości powróciła w nowej formie do swoich czytelników. Nadal będzie to przedsięwzięcie czysto hobbistyczne, ale o innym charakterze i innych rozmiarach. Zasadniczy cel, nie ulegnie jednak zmianie. W dalszym ciągu będziemy opowiadać o operze, która bardzo potrzebuje wsparcia jej miłośników.

Jeszcze raz dziękujemy wszystkim sympatykom opera.info.pl za uwagę, którą poświęciliście Państwo naszemu przedsięwzięciu.

Serdecznie Wszystkich Państwa pozdrawiamy,

Beata i Michał Olszewscy
opera.info.pl - 11/05/2015

Jeśli chcecie przesłać nam Państwo wiadomość, prosimy o skorzystanie z formularza kontaktowego. Dziękujemy :)

 

Jednocześnie informujemy, że nadal aktywny jest profil opera.info.pl w serwisie społecznościowym Facebook.

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"I learn from other people", interview with Bryn Terfel

Polish version Flaga polska

 

Bryn Terfel was talking to Beata and Michal Olszewscy about his fascination of Pink Floyd, Welsh roots, his journey towards opera, singing Wagnerian repertoire, his love for Falstaff and many more... This interview took place in Vienna in January 2014.

Bryn Terfel photo (c) Brian Tarr - published by opera.info.pl by courtesy of the Harlequin Agency

Photo by courtesy of the Harlequin Agency; click to magnify...

We would like to start our interview with a rather unusual question, considering your opera singer profession. We know that in your youth you were a huge fan of Pink Floyd  and that you love their music. They were one of the most famous symphonic rock band of our generation and also our favourite one. Could you tell us how this fascination started in your case?

I have to admit that my brother was more curious about Pink Floyd than I was. I became his follower. I went to their concerts with my brother and we also saw films like “Live in Pompeii” or “The Wall”. Pink Floyd were undoubtedly at this time on top of the charts with everything – records, concerts, films.

As a teenager my choice in music, other than classical had to have certain regulations: diction, intonation, rhythm, the interesting factor of orchestration. Pink Floyd were obviously ground breaking in their thinking of music, but also certainly operatic in a way.

So when the chance came to record something that Roger Waters had written there was no other question to be answered, rather than: “Yes, please yes, can I do it?” .

Was it his opera “Ça Ira”?

Yes, it was “Ça Ira”. And we met in countless cities – San Francisco, Paris, his house in London. I went to see him perform “The Wall” in New York and Manchester. So it wasn’t a done deal, as Roger is very cautious with whom he has in his life, especially, as he had given his whole soul to this piece.

When he started recording “Ça Ira”, Roger had already recorded the orchestra, which meant that he could try out lots of different singers for the roles. So we would sing to the orchestra and the conductor in a video and he would sit like you with me now and change the words and melody. It was very ground breaking from a perspective of a classical singer that usually in a studio recording has three takes to try and perform it to the best of his ability. With Roger you could sing all day. It wasn’t just a three hours session. It was from nine a.m. till midnight, until we felt we had got it right.

By the way, one of the first performances of Roger Water’s opera took place in the Polish city,  Poznań.

Yes, but a concert version was done before it in Rome.

Bryn Terfel photo (c) Adam Barker - published by opera.info.pl by courtesy of the Harlequin Agency

Photo by courtesy of the Harlequin Agency; click to magnify...

Your interest in every sort of music including sacred music, traditional folk songs and musicals shows that you are sensitive for the beauty of music of any kind. You are not concentrating only on opera singing, but you are mixing up different sorts of singing, what can be seen in your recordings. Is it because of your Welsh roots?

I came from a very simple, yet very strict, folk background. As a child I would sing lots of traditional unaccompanied Welsh folk music in local competitions called “Eisteddfodau”. You’d sing the words and melody and receive adjudication for your performance on the stage. So from a very early age I was being criticized for what I was doing as a performer. Initially it was rather disappointing for me because I thought I worked hard in learning certain pieces, but I learnt very quickly to listen to and to learn from other people. If there is anything I would say to a young singer now, it would be to listen, because I think that is one of the integral parts of being a performer not only as a singer, but as an actor. You need to listen to people that know something better than you. For example  from  the three tenors – Pavarotti, Carreras and Domingo I learnt that you must always take care to find time for your audience. I remember I sang a small role in “Samson and Delilah”, this was my first European engagement in a place called Perelada in Spain. This was just after José Carreras came back from his illness, he was singing Samson. In Spain they perform quite late in the night and I remember at three a.m. in the morning there was a queue of thousands of people for José Carreras. Of course, he is a true gentleman and terrific colleague. He saw everybody and talked and I was the last one in the queue with my score, because I was very curious as a young singer to learn. He said “why don’t you go to bed Bryn, why you are here?”. “I just want to have your signature”. Amazing, he remembered my name.

We guess you still have this score? We know that you keep them all.

Sure, I keep them all. To digress, on the  subject of signatures. There is a man here in Vienna, his name is Erich. He always has thousands of pictures for you to sign. I signed for him hundreds of photos and joked that for each hundred he should bring me one signed respectively by Dietrich Fischer-Dieskau, Carlo Bergonzi, Thomas Steward and Tito Gobbi. Finally,  yesterday he gave me all those pictures, which was fantastic. I am so excited about that. Tito Gobbi as Falstaff with his signature, so beautiful, so real.

I asked him what is the most famous picture in his collection. He said that the most precious is a photo signed by Caruso, as he does not have many of them neither does he  have  many of  Jussi Bjorling. By the way, I have one picture with a signature of Jussi Bjorling. And … Callas. I do not have many of “Callas” yet, but I will have some day (laugh).

Could you tell us how you adventure with opera singing started?

I will put it in a certain context for you. There is a city in North Wales - Bangor, which has a beautiful university. They have just named a theatre after me and I was there in its opening last week. For a year I grappled with the thought of having a theatre named after me, because I wasn’t sure it was a good idea. I did not think I achieved enough to have this, as there are people much more important than I am. So for a year I thought: “why should I choose it?”. But for me this city is a special place.  In Bangor, as a teenager, I was initially a member of a choir, which was brilliant. I did my first orchestral concert there, I did my first classical CD of “Schwanengesang”, I did concerts in the church, in the cathedral and in the old theatre. I also did my trumpet and piano exams as well as my singing exams in this city. So when I’ve been offered different theatres, halls and practice rooms after my name, I always said to them all: “No”. But this city have more meaning for  me, as without  doubt it had a strong part to play in my musical growth. So I said “yes”! That what Wales is to me. It has competitions, it has concerts, it has radio and television. You might think Wales is a small and provincial country but it creates such numerous chances for one to develop in one’s career. It’s limitless what you have in front of you if you do something with dedication, homework and take in your background, years of competing and competitions. Undoubtedly, if you take advantage of what your upbringing offers, mine offered  a certain armoury, you  just have to add  the ammunition…

Bryn Terfel - Die Meistersingers von Nürnberg - Welsh National Opera photo (c) Brian Tarr - published by opera.info.pl by courtesy of the Harlequin Agency
Photo by courtesy of the Harlequin Agency;
click to magnify...

So, at nineteen years of age, when I went to Guildhall School of Music and Drama, I polished the ammunition for the next five years. I had two singing teachers, one old gentleman who was very kind to me and looked after me but did not want me to sing any operatic arias, so  I did not sing any for three years.

His name was Arthur Reckless?

That’s right. He only taught me songs. The next teacher was Rudolf Piernay. He helped me a lot as although Arthur had taught me, through songs, how to sing in essence, I needed to be a little bit more regimental. I was lazy.

At that time you were not very fond of opera?

Before I went to London I wasn’t, but after, all that changed. This city life was like bright lights, which was completely different to my square miles at home, where there were only mountains and lakes, sheep and cows.

If you think about people who had a major influence on you in your professional life, who would you name? In other words, who helped you most in your career?

There was one famous Welsh singer, Geraint Evans, a bass-baritone, who made one phone call.  He rang somebody, who lived in Swiss Cottage in London and who was a very famous conductor and he said: “Can you please listen to this young singer?” So I got a pianist, an older gentleman from Wales, to come with me and we went to meet him.

Was it Sir George Solti?

Yes. We went into his music room, which in itself was a special place because of all the Grammys and awards there – where Sir George Solti had two excellent Steinways. I remember my pianist, who was given a choice of either and of course he was like a child in a candy shop.

Bryn Terfel - The Flying Dutchman - Welsh National Opera photo (c) Brian Tarr - published by opera.info.pl by courtesy of the Harlequin Agency

Photo by courtesy of the Harlequin Agency; click to magnify...

I remember exactly what I sang that afternoon. I sang “Flieder Monologue”  from “Die Meistersinger von Nürnberg” and “Non piu andrai” from “Le Nozze di Figaro”.  From that meeting I got two jobs – Antonio, the gardener, in “Le Nozze di Figaro” and Der Geisterbote in “Die Frau ohne Schatten” in the Easter Festival in Salzburg. Two small roles, but Sir Solti  said: “You make sure you learn these to the best of your ability. You come to rehearsals prepared. I don’t want to say anything to you that’s to do with language or rhythm or intonation”. So, he had already set the ground rules. It was a fascinating period and of course it opened doors for me just like it did with Angela Gheorghiu, when she sang Traviata in Covent Garden.

So, that was a decisive moment in your career?

Yes, it was definitely a crucial afternoon.

During all these years you sang a lot of roles: Figaro, Sir John Falstaff, Don Giovanni, Leporello and nowadays  Wotan. This is a significant repertoire and it’s not an easy task to “jump” from Figaro to Wotan. A lot of music teachers warn young singers not to do that too early, as they may harm their voice. They say “You must be technically capable and you must know all these ambushes, which are in the Wagnerian score”. Nina Stemme told us it took her ten years to prepare to be a Brünnhilde. What was your way to Wagner repertoire? If we remember correctly, you sing your first Wagnerian role in “Tannhäuser” already in the nineties?

Yes, I did sing in “Tannhäuser” and the role of Donner in “Rheingold” in Chicago quite early on. But that was predominantly it. I did an audition for Giuseppe Sinopoli once in Bayreuth for Amfortas in “Parsifal”, but it never happened because Giuseppe Sinopoli died early. Maybe it was fate that kept me away from Wagner. I even won the Wagner bursary when I was young to go to Bayreuth from London and I sang the audition on the stage there. But even then, they didn’t take me on. They had hindsight, they had knowledge of people they should take and not take, they knew the human voice really well, especially when the father of German music is concerned.  It is a different kettle of fish to sing Wagner. It plays games on you psychologically, mentally and physically.

 
 
Bryn Terfel - Tosca - Royal Opera House photo (c) Brian Tarr - published by opera.info.pl by courtesy of the Harlequin Agency

Photo by courtesy of the Harlequin Agency; click to magnify...

Recently, I was asked why I haven’t sung in Vienna for seven years. And I said that this question should be asked to Richard Wagner, because I have done a “Ring Cycle” and “Meistersinger” in those seven years. You need three and half years to get your even head around Wotan or Hans Sachs. And as there was a new production of the “Ring Cycle” in Covent Garden and in New York, obviously I had at that time no plans for any other opera house.

Did entering into Wagnerian repertoire change you as an artist?

No, you just have to stay with your technique and what you’ve learnt in your music room. It is essential how you perform Wagner on the stage. I saw Wagnerian singers in Bayreuth. They sing this repertoire like riding a bicycle. But beware of falling into trap of trying to emulate what they do because for them it’s like “bread and butter”, they know how to perform, especially, having been in Bayreuth for numerous seasons, not just a couple of seasons. So that’s something that was beneficial for me to actually watch these people.

And from the very beginning of my career I have watched people. When I did Masetto I watched Claudio Desderi and Thomas Allen, when I did Antonio I watched Ferruccio Furlanetto or William Stone, when I did Donner in Chicago I watched James Morris, the most eminent Wotan of our generation. We have to be very clever with how we manipulate our diaries, our calendars, as your work is dependent on how much you say “yes” and “no”. You have to sit down with your agent and work things out. Otherwise that’s when the ambushes you mentioned, come into your life.

We saw how easily you draw the attention of the audience during the performance, your charisma and good acting are also well known. Is it a natural gift or something that has been worked out by you?

(A moment of hesitation) Oh I don’t know. My background into opera was quite late, so I had to learn the tricks of the trade pretty quickly. I felt comfortable on the stage in my own six foot frame. I’m not the smallest man on the operatic stage and I’m not certainly the fittest but some roles do fit you like a glove. Don Giovanni never fitted me, Leporello does, Figaro does.

Why Don Giovanni did not fit you? Because of the personality of this character?

No, vocally. The transition into the second act never really was something I was comfortable with.  You may think that somebody who sings Wotan should never have problems with a Mozart role, but it only shows how important singing and performing of Mozart is for a young singer. It is the one that cuts your teeth to the profession. It is where you learn about opera. I knew exactly when my Mozart days were over. I wasn’t comfortable in singing those roles anymore and then through a journey of Strauss and other composers the doors opened to Wagner, who is a very exciting composer to sing. Wagner’s world is full of such interesting characters, on this side of the stage and on the other side of the stage, with the fans that come to listen to Wagner all over the world.

Bryn Terfel as Wotan in Wagner’s Die Walküre  BBC Proms 2013 photo (c) BBC/Chris Christodoulou published by opera.info.pl by courtesy of the BBC Proms

Click photo to magnify...

That is absolutely true. People, who love music of Wagner, are very much devoted. We remember, being last year in the  BBC Proms in London, where there was unbelievable silence and concentration of the audience during  the Ring Cycle conducted by maestro Barenboim.

I remember Daniel Barenboim said to me: “Bryn you are wonderful singer, but … you are a terrible friend”, because I never had time to come to Berlin. He always thought that I was brushing him aside. So, when the offer came to sing Wotan in the Ring Cycle during BBC Proms, because somebody was sick and you had three different Wotans in these performances, I rang Daniel and said: “Look, I’m flying from Boston the day before. I will not see you until the morning of the concert and if you want to take that on board, then that’s how it’s going to be”. And he said: “Yes, I’ll take that”. So I didn’t see him till the morning of the concert. I have  to say that it was one of the musical highlights of my career, the way he can mould the orchestra, the way he can keep them down.

The same thing Nina Stemme told us about this event. She said: “For the first time I had a conductor, who was not trying to cover the singers.”

Never, and moreover, the Royal Albert Hall is the most difficult place ever to sing Wagner.

Looking in Wagnerian repertoire is Wotan the role that you like the most?

No, I would say that because of my Welsh background the role of Hans Sachs from “Die Meistersinger von Nürnberg” is more of the connection and it’s more of the Everest by any yardstick, as it’s the longest role for bass-baritone. But, it’s the funniest as well. It’s essentially a comedy. You may take from it what you want. Even if you want to go against Wagner you cannot hide the fact that it’s a masterpiece and it’s an incredible piece of music.

Currently you are taking part of Scarpia in “Tosca” here, in Vienna. How do you feel on this stage?

Bryn Terfel (Scarpia)  photo (c) Wiener Staatsoper / Michael Pöhn published by opera.info.pl by courtesy of the Wiener Staatsoper

Click photo to magnify...

When I sing in “Tosca” I can’t believe that the first reviews were detrimental for this Puccini opera. My goodness, how he’s showed them they were wrong ! “Tosca” is now in every opera house all over the world. Every tenor wants to sing Cavaradossi, every baritone wants to sing Scarpia and every soprano wants to sing Tosca. This beautiful production staged in Wiener Staatsoper has been here since 1956 and you think of who sang it here: Tito Gobbi, Samuel Ramey, James Morris, Željko Lučić and also Thomas Hampson. We have all got our parts to play in this wonderful forum. But you have to be very careful with roles you choose in Staatsoper, because this is a repertoire theatre which means two days of rehearsals and you are on the stage without seeing the orchestra at all, so you have to know the role inside out. At the same time you have to remember who the orchestra is in front of you, this is  Vienna Philharmonic!

Last night for example for the first time I heard the bells so loud on the stage. You know, Puccini made sure that he had those bells sounded exactly like they did in Rome. It’s rather expensive for an opera house even today to get these bells. That is one thing that Puccini left as a legacy and he even wrote a letter about it. Fascinating.

By the way, a friend of mine  bought an original Beethoven letter last week and he brought it to the restaurant in the ordinary plastic shopping bag. He took it out and it was an amazing experience of seeing Beethoven. He said in it that he was sick in bed for a couple of weeks and he wanted a piece of music to be send to him by his editor … now. And I was there looking at this letter written by somebody special, really fascinating. We are in an amazing profession as all I have to do is to buy a score or buy a recording, study and if I do my work properly and I auditioned well I could be on this stage singing it.

May you tell us how do you prepare for a new role?

Meticulously, if I sing a new piece, the first time is OK, second time it’s better, third time is really good and fourth time it’s memorized. I have a very strong aptitude to memorising.

Bryn Terfel  Prague Concert - photo published by opera.info.pl by courtesy of the Harlequin Agency

Photo by courtesy of the Harlequin Agency; click to magnify...

I start with reading a score. Then, I get to know the director’s vision and the conductor’s interpretation and then I mould myself to what they want. If I go in already thinking “I’m going to do this that way and this is the only way I’m going to do it” it’s not conducive. As I’ve said earlier I’m listening to other people.

But when the role of Scarpia is concerned I have read books that people wrote about Scarpia, like Tito Gobbi’s book or the memoirs of people that had sung “Tosca”.

Do you listen to old recordings?

Yes, I do.

Some singers told us that they try to avoid this as they fear that it may influence their way of singing and they may start to unconsciously imitate someone else on the stage.

There are some singers that are going to be better than you and there are some singers that are not so good as you. It balances it out. I would say: don’t worry about that and listen to these singers, because they came from a generation where recordings were incredible. That can only be a positive thing.

If we ask you about the roles close to your heart, what would you say?
This year I had the opportunity to sing “Falstaff” in La Scala and that was a kind of a “Eureka” moment! The moment of being on that stage and singing Sir John Falstaff was very special.

You played the role of Falstaff many times in your professional career. What was so special for you in La Scala production?

First of all it was about singing in Milan, where the piece was conceived and performed for decades. I always think about it when I sit in the makeup chair for Falstaff for an hour. It already puts me in a very good mood, seeing the transformation from Bryn to Sir John. So already before the curtain opens I am in a heck of a good mood. I’ve been giggling in my chair … this nose… hair. Then they put the costume on , fitting the belly…

Falstaff celebrates life like nobody else does and even if he is at the lowest he could ever be because of being a cuckold for the ladies of Windsor, a little glass of warm wine sparks memories of his golden days when he was a page for the Duke of Norfolk. And Verdi creates an atmosphere that is jovial. He was octogenarian when he wrote this, so you have those things in your mind when you are singing this role. Was it him that he was writing about? Whilst performing Falstaff in San Francisco it was interesting for me to see Boito’s “Faust” at the same opera house and to think that he gave such wonderful, striking libretto and wrote such a piece himself. It gave me another dimension of this collaboration.

Bryn Terfel - „Falstaff” - Teatro alla Scala photo (c) Brescia/Amisano - Teatro alla Scala published by opera.info.pl by courtesy of the Teatro alla Scala

Click photo to magnify...

Until the day I die I will enjoy singing “Falstaff”. So hopefully by the time I am seventy I can still sing certain scenes here and there.

And what are the roles that you would like to sing in the future?

I would like to sing roles like Boris Godunov and Price Igor.

Would you like to sing some other roles from Verdi collection of characters?

No, they are  not for my voice. Don’t take me wrong I would love to even attempt to sing Rigoletto or  Simon Boccanegra or Macbeth. I tried to sing some “Il trovatore” with Giuseppe Sinopoli and I studied “Simon Boccanegra” with Claudio Abbado, but it wasn’t my cup of tea.

You didn’t feel comfortable?

No, I didn’t feel comfortable. It’s a different vehicle, the Verdi baritone. It is unique. You have to be very comfortable with that tessitura. You have to be able to sing it at seven a.m. in the morning and two a.m. at night.

That’s why you went into Wagner world so bravely?

Yes, maybe the Wagner glove fits me better. For the future I think there are some challenges, some new roles. For example I’m coming up with “Fiddler on the roof” in two years.

It’s a bit lighter repertoire than you sing in opera…

Yes, but still it demands the same technical ability and this is all about the music. I’d like some day to do something that is modern, like “Wozzeck”, something that will test me musically. I’ve sung roles that people imagined that I would sing. So maybe it’s time for me to put something in my armoury that somebody says: “Wow, I never thought he would do that”.

Bryn Terfel photo (c) Adam Barker - published by opera.info.pl by courtesy of the Harlequin Agency

Photo by courtesy of the Harlequin Agency; click to magnify...

During the past years you have done a lot to promote music and to help young artists. You have organised a music festival in Wales, you have created a foundation to support young musicians. Recently, together with Deutsche Grammophon you launched a new recording brand called Snowdonia Records, that will promote young artists. Can you tell us more about these initiatives? Are you doing this because you yourself got support from others when you were young?

I think this is a good point, because when I was in college I was in a very fortunate position of having lots of scholarships from the local authority, so most of my education was paid for. But these days young singers come out of universities and even if they are very talented they still have debts, lots of debts up to twenty thousand pounds of debts.          

Does it mean that nowadays it is harder to obtain any scholarship?

It’s not so easy  unless you have a wonderful talent that can make people offer you support. I started my own scholarship only two years ago, so it’s a young foundation. But, it is important to support young artists, as I remember when I was young I struggled to buy scores, suits and shoes and even have haircuts. I had the problems with the simplest things. Moreover, these are undoubtedly the tools of your trade. If you are harpist you need a harp, if you are a violinist you need a violin and that violin could cost a lot of money.

Now, Deutsche Grammophon gave me an extra dimension to have an ability to choose two different artists to record for Deutsche Grammophon through  Snowdonia Records. Initially we are looking at  folk groups, instrumentalists and singers. So it’s not just one catchment area.

It is a great idea! For young artists recording for Deutsche Grammophon should mean a lot. It will probably open  many doors for them as it gives out  a strong signal that this person has a talent.

You go to a lot of effort to support young musicians, but on the other hand you said in one of your interviews that you don’t want to give any singing master classes. We would like to understand why?  And one more question on this subject. Have you ever thought about coaching young singers, but not through giving them singing lessons, but rather helping them go successfully through this complicated opera world?

I am a true believer in learning from your own mistakes. I remember having master classes in the Guildhall and I wasn’t really enamoured by what people had to say and when they did say something, they said it knowing that they would be leaving next day to another country and leaving some students traumatized by their vocal inabilities. You know, every dog has his day. When you sing as a student in the master classes you could be in good voice, but you could also  not be healthy. But you aren’t going to stop yourself from singing to some peers coming there because it could be your only chance. A young student might not say: “I’m sick, sorry I can’t sing for you”. So I sung for  a couple of people that frankly didn’t really “strike a chord with me”. Maybe that’s the reason why I’m keeping away from even coaching one to one. But, you know, maybe the shackles will be removed as I get older myself. Then I’ll think: “Well, I have a foundation then why shouldn’t I help these people even, if it is just to talk to them about their career?”.

That is what we were thinking of, because sometimes you can give advice  that is not so straight forward for someone. Sometimes saying “no” is not so easy, when the singer is young, but often saying “yes” may crush her or his career. They need to listen to more experienced artist like you.

That is correct. I’m 48 now and I’m still listening to people.

Thank you so much for the time you devoted to us.

 

Authors: Beata and Michał Olszewscy

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