I am a Polish flautist specializing in historical performance.
In 2007, I graduated from the I. J. Paderewski Academy of Music in Poznań, where I studied modern flute with Jerzy Pelc. I later studied historical flutes in Wrocław and completed my degree at the  Academy of Music in Łódź under Magdalena Pilch (traverso) and Marek Nahajowski (recorder – as a secondary instrument). I am currently continuing my education under Michael Schmidt-Casdorff at the Academy of Music in Bydgoszcz.
I am the co-founder of the early music ensemble Très Animé which r recorded works by Telemann and Bach  – I warmly invite you to listen!
I regularly collaborate with a number of ensembles in Poland and abroad, including Zespół Instrumentów Dawnych Polskiej Opery Królewskiej Capella Regia Polona, Accademia dell’Arcadia, Wrocławska Orkiestra Barokowa, Polska Orkiestra XVIII Wieku, Zespół Muzyki Dawnej Diletto, Orkiestra Fundacji Akademii Muzyki Dawnej, Consortium Sedinum, Les Ambassadeurs, Arte dei Suonatori, Altberg Ensemble, and Capella Cracoviensis.
I am professionally dedicated to early music and historical flutes, and I also run a small business called Melody Bags.
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Olga on Facebook
Très Animé Website

The first thing you do when you pick up your traverso to start the practice day, and why?

The first thing I do when I pick up the flute is warm up the instrument. I play long, low notes, which also helps me warm up and prepare my body for playing. At the same time, I immediately start to breathe deeply and shape the sounds when playing messa di voce, paying attention to intonation and beautiful tone.

Any recurring piece to play every day, and why?​

I'm not attached to any specific piece for warming up.
Before I start practicing, I usually decide which repertoire I’ll be working on that day, what technical or musical challenges the piece contains, and what my goals are for that practice session.

Do you have a daily routine?​

In my life – as a musician, teacher, business owner (www.melodybags.com), and mother – it’s hard to maintain a steady routine. Still, because music holds a very high place in my list of priorities, I make a conscious effort not to neglect daily practice. I also take the preparation before playing a piece very seriously.
Before I start working on a new piece, I organize in my mind the most important information: what I know about the composer, their style of writing, and the circumstances in which the piece was created. With this context, I can approach the music more consciously and with greater respect for the work.
Once I’m familiar with the piece, I can continue to work on it in my imagination – without the instrument. I can "play" it in my head, thinking about breath control, sound projection, and phrasing. This also helps me notice what I like about my interpretation and what I’d like to adjust. It’s truly a wonderful way of practicing – one that requires its own kind of discipline, but I highly recommend it.
Thanks to this method, going a few days without the instrument in my hands is not a problem. Breaks from playing do happen, but not too often – I simply miss making music on the flute.

What kind of goals do you set for your practice?​

My overall goal is to maintain both my physical and technical form, as well as my phrasing and musical understanding skills, so that I can feel satisfied with what I’m able to present and convey to the audience. Sometimes I have to prepare a program quickly for an upcoming concert. In those cases, I focus on becoming as familiar as possible with the score, while also making sure to stay grounded in the basics – such as breathing and intonation.
When I have more time, I can work more deeply on specific challenges. I like to divide my practice into stages – in one session I focus on technical issues, and in the next I incorporate work on tone and phrasing.

Do you do any systematic warm-up?

I don’t have a fixed warm-up routine either. As I mentioned earlier, I like to begin by playing long, low notes. That’s when I focus on their tone color, quality, and on controlling proper breathing and sound projection.
The choice of pieces for my warm-up depends on my preferences and mood, and sometimes on the repertoire I’ll be performing at upcoming concerts. However, I always try to make my warm-up time as varied and engaging as possible.
Depending on the situation, I then turn to familiar repertoire to warm up – such as Telemann’s Fantasias, or Suites and Preludes by Hotteterre.
It’s also extremely important to me that my body is in top condition. I try to lead a healthy lifestyle: get enough sleep, eat well, and stay physically active. Currently, I practice yoga and Pilates regularly. My physical condition plays a key role in the quality of my playing – the connection between body and sound is essential. While playing, I need to have control over the muscles of my entire body, especially the abdominal muscles. Of course, it’s important not only to maintain the right muscle tension but also to know which muscles should remain relaxed. Such control simply requires good overall physical fitness.

Do you have a specific structure for warm-up and practice sessions?

When I want to practice for a longer period, I divide the time into 45–60-minute sessions. After that, I take a break and continue later. This approach is much more effective for me than practicing for a long time without stopping.
If I have the opportunity, I split my practice into two sessions – one in the morning and another in the afternoon or evening. This also allows me to observe how my playing changes at different times of the day.

Any distinctive characteristics of baroque flute daily practice vs. modern flute or other instruments?​

Playing historical flutes requires a different approach to sound production. These instruments are made of wood, so to achieve proper sound projection, one must focus on creating a “round and warm” tone, which makes the sound more resonant and clearly audible. Each note on a historical flute also requires its own specific approach to achieve the correct tone color.
In contrast, playing the modern flute demands more physical strength and concentration on projecting the sound toward the audience. The tone colors of the modern flute are not as varied — the goal is rather to unify them. On the other hand, in the baroque flute, each note has a distinctly different color, which is considered an advantage rather than something to be evened out. One should be aware of these differences and adjust their practice approach to the specific instrument.

What are the key elements and unmissable points of daily practice?

Regardless of how much time I spend practicing my instrument, I want that time to be meaningful. That’s why I focus on the fundamental elements such as deep breathing, control of the airflow, and proper posture while playing. These basic aspects must be in place before I begin shaping the musical interpretation of a piece.

How long and distributed should warm-up and practice be?

It depends… Everyone has different needs. As for me, I warm up until I feel ready to play. I know it’s not a very specific answer, but I truly believe that each person should find what works best for them.
In my professional life, music holds the most important place. However, organizing such a lifestyle can be very challenging. I often travel to collaborate with different musicians and orchestras. I also have my own students, and most importantly, I have a family. I must admit that finding balance among all these aspects is not easy, but it is essential.
Sometimes I give up practicing in favor of spending time with my family, while at other times—such as when I’m away on a trip—I can fully focus on music. Essentially, my life is a constant search for balance, but I believe that a certain flexibility and the ability to step away from routine are absolutely necessary. Even though it can be difficult, I try not to complain.

Any  specific tip to address difficult technical passages during daily practice?

First, I take time to calmly study the score and the harmonic structure of a difficult passage. I identify the main notes as well as those that simply serve to complete the harmony. With this awareness, it becomes much easier to work through challenging sections.
I begin by playing the passage slowly, focusing on the quality of sound. Then I gradually increase the tempo until I reach the desired speed. I practice with a metronome. I break the passage into smaller segments, work on them individually, and then piece them together into a complete whole.

Are there any tools that are particularly useful for practicing?

I use tools like a metronome or tuner, although not always. I like to be aware of whether I’m speeding up or slowing down while playing. Music often requires flexibility in tempo, but it has to be done consciously. Practicing with a metronome helps develop this ability to intentionally control the tempo.
The same applies to using a tuner — I like to know whether my intonation is stable. When I have that confidence, it’s much easier to control my pitch while playing with other instruments, when we need to find solutions or make compromises together.
I also sometimes record myself playing the flute – both audio and video. This helps me monitor not only my playing but also how my body moves and functions while I play.

Any other general advice, suggestion, tip?

It's good to look for solutions that work best for you. It's also important to seek inspiration and remain open to new ideas, advice, and information.

How do you advise your students as far as structuring their daily practice?

It’s best not to postpone practice until the last minute. Plan your practice sessions, schedule them into your daily routine, and stick to that plan consistently. Don’t waste time during practice—focus on specific issues and stay concentrated.

Do you suggest or teach a warm-up routine?

I suggest different warm-up methods to my students and listen to their ideas. Together, we decide what works best for them.

Are there any specific pieces particularly beneficial to be played regularly in daily practice?

I would choose Telemann’s Fantasias and Hotteterre’s Preludes. These compositions contain elements that require the flutist to engage all of their skills. While performing them, I must pay attention to breathing, sound quality, intonation, and finger dexterity across various keys. Moreover, they provide an excellent introduction to the performance style of the Baroque era.

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