The provenance of Mozart’s last work, the Requiem, has always kindled people’s imagination. There are few works in the entire history of music whose origins have given rise to such a blend of truth and fiction, and of facts and literary fantasy. The last months of Mozart’s life were marked by the triumphant premiere of The Magic Flute, his increasingly frail condition, and a peculiar commission from an anonymous stranger to write the Mass for the Dead, which he kept on writing on his deathbed. These images, coupled with the story of the composer being poisoned by his arch-rival Antonio Salieri (which was completely untrue), for years provided fertile ground for Mozart’s biographers. Olga Pasiecznik (soprano) was born in Ukraine and studied piano and music education in her home town of Rivne and voice at the Kiev Conservatory. She continued her vocal studies as a postgraduate student at the Chopin Academy of Music in Warsaw. In 1992 she made her debut at the Warsaw Chamber Opera and four years later at the Théâtre des Champs-Élysées in Paris (as Pamina in Mozart’s The Magic Flute). The latter appearance marked the beginning of a spectacular international career. The current repertoire of Olga Pasiecznik includes over forty roles in operas by Monteverdi, Gluck, Handel, Mozart, Weber, Bizet, Rossini, Verdi, Puccini, Debussy, Tchaikovsky, as well as contemporary composers.