Dorota Cybulska-Amsler graduated from Warsaw’s Fryderyk Chopin Academy (now – University) of Music. As a winner of the Young Talents Competition in Słupsk, she obtained a scholarship to study in Paris, where she developed her abilities with Huguette Dreyfus and Kenneth Gilbert. In 1983 she was awarded in the International Harpsichord Competition in Bruges and took up harpsichord studies with Christiane Jaccottet at Geneva Conservatory of Music, graduating with the highest distinction.
The artist gives concerts throughout Europe, e.g. at the festivals in Montreux-Vevey, Paris, Turin, Évian-les-Bains and Wrocław, with Ensemble 415, Die Freitagsakademie, Chamber Orchestra of Europe, L’Orchestre de Chambre de Genève, and many others. Apart from solo recitals and performances with other instrumentalists (including frequent collaborations with the harpsichordist Chiara Banchini), she also regularly appears with singers such as Jadwiga Rappé, Artur Stefanowicz, Adriana Fernandez, and plays the continuo part in operas, e.g. in Handel’s Ariodante in the Grand Theâtre de Genève.
Dorota Cybulska-Amsler’s wide repertoire encompasses different styles of harpsichord music from the Renaissance to contemporary music. She has recorded extensively for Radio Suisse Romande, and her musicological exploration of 17th-century repertoires led to a recording of works by the Venetian woman-composer Antonia Bembo (1640–1720) with J.S. Bach’s transcriptions, released together with the publication of Claire Fontijn’s monograph Desperate measures. The Life and Music of Antonia Padoani Bembo by Oxford University Press. Another solo album by this artist, a world premiere recording of Johann Joseph Fux’s Pièces pour clavecin released by K617, met with an extremely warm critical reception.
Dorota Cybulska-Amsler’s works as a corepetiteur, training singers in baroque music, and teaches her own class at Geneva Conservatory of Music.
Dorota Cybulska’s playing is captivating and extremely dynamic. Vast rhetorical frescos best suit her musical personality. “Repértoire”
Brilliant virtuosity and perfect command of the rubato as well as fanciful, genuinely Italian ornamentation.
“Neue Zürcher Zeitung”
Chiara Banchini’s partner, Dorota Cybulska, plays with great temperament and ease, but also with great care for style. One would wish to hear a whole solo recital from this harpsichord player, who so rarely returns to her home country.
Her touché is highly varied and brings individual colour to every piece. Her playing is incredibly rhythmical, pulsating, and it immerses the audience in a frenetic choreography.