Anna Wyszkoni is 43 years old and still draws attention, not just for her singing but also for the incredibly successful way she balances parenthood and her work. For Polish listeners who grew up hearing her voice dominate the airwaves as part of Łzy, her name is still remarkably recognized. Nevertheless, Wyszkoni has gracefully evolved into a solo performer who is as well-known now as she was twenty years ago.
As the lead singer of the pop-rock group Łzy, she started her career in music in the mid-1990s. She immediately established herself as one of the group’s most captivating features with her expressive voice and dominating stage presence. Songs like “Oczy szeroko zamknięte” and “Narcyz się nazywam” evolved into more than just hits; they served as the background music for many Polish youths navigating identity, love, and loss. Gold or platinum status was regularly attained by the group’s albums, demonstrating their remarkably strong emotional resonance.
Anna Wyszkoni – Bio & Career Overview
| Category | Details |
|---|---|
| Full Name | Anna Maria Wyszkoni |
| Date of Birth | July 21, 1980 |
| Age | 45 (as of 2025) |
| Birthplace | Tworków, Poland |
| Nationality | Polish |
| Occupation | Pop Rock Singer, Songwriter, Composer |
| Active Years | 1996 – Present |
| Notable Bands | Łzy (1996–2010) |
| Top Band Hits | “Agnieszka już dawno…”, “Oczy szeroko zamknięte”, “Narcyz się nazywam” |
| Solo Career Launch | 2008 |
| Top Solo Hits | “Zapytaj mnie o to, kochany”, “Biegnij przed siebie”, “Czy ten pan i pani” |
| Labels Affiliated | Sony Music, Universal Music Polska, Mystic Production |
| Children | Tobiasz (b. 2001), Pola (b. 2012) |
| Official Website |
Wyszkoni took the crucial decision to go independent in 2008. Her break from Łzy wasn’t sudden; it was well-timed, possibly even incredibly patient. She came into this new chapter with a lucidity that was more indicative of maturity than disobedience, knowing the implications. The development of her solo discography was elegant and very intimate. Not only did songs like “Czy ten pan i pani” and “W całość ułożysz mnie” make it up the charts, but they also touched people.
Her inclusion on Machina’s list of the top 50 Polish vocalists in 2010 was more than just an acknowledgment; it was an industry acknowledgement of her lasting artistic worth. The fact that Wyszkoni’s age is never used as an excuse is what makes her work so inspirational. Rather, her longevity demonstrates the advantages of gradual celebrity. She curates permanency rather than seeking virality.
The singer’s off-stage journey is just as fascinating. At the age of 21, she gave birth to her son, Tobiasz, while continuing to perform with Łzy. Despite the potential conflict between the demands of parenting and music, Wyszkoni’s capacity for self-discipline and prioritization has proved extraordinarily adaptable. She managed the fast-paced nature of stardom while being closely connected to her family.
With her partner Maciej Durczak, she gave birth to a daughter, Pola, in 2012. Wyszkoni posted unique pictures of her daughter on Instagram for Pola’s 13th birthday this year. The similarity between the two was immediately apparent—fans remarked that Pola resembled her mother in a “perfectly young copy” way. It was a particularly poignant moment that demonstrated how personal development continues to occur in addition to professional achievement.
Wyszkoni discussed the endearing unpredictable nature of parenting a teenager in an open audio interview titled Dad, Come On. She explained that Pola had experimented with a variety of career paths, including being a veterinarian, a TikToker, and a horseback riding coach. Wyszkoni revealed, “She has a lot of passions, some of which help me relax as a mother.” Other women navigating a digital age when identity development is ever changing found resonance in that blend of adoration and grounded parenting.
For Wyszkoni, being a mother has influenced not only her schedule but also her artistic vision. She acknowledges that she experienced a creative block after Pola was born. In an interview with journalist Grzegorz Szklarek, she stated, “I was so absorbed in every moment spent with Pola that I couldn’t focus on the artistic sphere.” Despite being challenging, the quiet time proved to be very effective for recalibration. Two months later, she was back on stage and working on Life Is Fine, a contemplative album that seemed emotionally mature and richly layered.
In a field that frequently confuses unrelenting output with significance, her openness to talk candidly about creative exhaustion is encouraging. Wyszkoni turned that story on its head. She demonstrated how taking a step back may be very advantageous, enabling the kind of reflection that results in more meaningful and genuine work.
Her influence is supported by sales data. She sold more than 450,000 copies by 2014, and that figure has probably increased due to the popularity of streaming and ongoing touring. In a time when many artists find it difficult to transition past their breakthrough decade, her enduring commercial appeal is incredibly effective. Her dedication to purposeful evolution, in addition to her talent, is what makes her unique.
Like most international settings, Polish music has not traditionally welcomed the voices of older women. All too frequently, young people are incorrectly associated with creativity. However, Wyszkoni’s resilience casts doubt on that idea. She is part of an uncommon group of artists who, like Kasia Kowalska and Edyta Górniak, have managed to stay culturally current while eschewing fads.
Her presence has been amplified throughout generations thanks to her smart alliances with major labels like Universal Music Polska and Sony Music. The idea that Anna Wyszkoni is wholly her own, however, strikes a chord. She performs because it’s still the most honest and transparent way for her to express herself, not to get approval.
