Olga Humeńczuk was born in Wrocław, where she studied in the cello class of Feliks Tatarczyk. She graduated from the Wrocław University of Science and Technology, Computer Science and Business Administration Department, with a master’s degree in business management, and also completed postgraduate studies at the WSB University in Wrocław in the field of Project Management. In the years 2012–2024, she was deputy to Andrzej Kosendiak, the outgoing director of the NFM. She managed projects co-financed by the European Union, under which the NFM venue was developed, and the organisation’s equipment was expanded, including a symphonic organ, grand pianos, instruments for musicians of the NFM ensembles and event production equipment. She introduced optimisations to the organisation's internal processes in the areas of, among others, concert production, project planning and management, participated in changing the system for remuneration and accounting of artistic work, as well as managing the process of creating a new system for planning and monitoring finances in cooperation with the Wrocław University of Economics. She has represented the NFM in Poland and internationally, including at the congresses of the International Society for Performing Arts in New York and Seoul, Classical Next in Rotterdam, the European Forum of Music in Riga, the European Jazz Conference in Budapest and WOMEX in Santiago de Compostela. She has also conducted classes during workshops organised by the Karol Lipiński Academy of Music in Wrocław as an expert in   organising and producing artistic events. She has begun cooperation with the University of Wrocław in the preparation of a project to digitise NFM resources, which will be developed in the coming years.

In accordance with Andrzej Kosendiak’s ideas, she intends to continue the mission of popularising culture, and especially music, both domestically and internationally. An important aspect of the NFM’s functioning is the development of the institution and its employees, expanding the knowledge and musical awareness of society, accessibility and inclusion, musical education of children, young people and adults, as well as creating conditions conducive to creativity and the comfort and safety of artists at every stage of their work.