“(…) The genuine baroque costumes were undoubtedly a very strong point of the performance (…). The young singer Marcelina Beucher certainly succeeded in the title soprano part, in the development of a ground-breaking opera in portraying a woman all-consumed by passion.(…).”
Małgorzata Komorowska, teatralny.pl
About “Armide” directed by Deda Christina Colonna
“(…)You have to have the courage to sing the songs known from the unforgettable interpretations of Hanka Ordonówna, Ewa Demarczyk or Sława Przybylska. (…) It was a great pleasure of mine to listen to Plácido Domingo Junior, who, even though is a tenor, he sang in a low, non-operatic voice. (…)”
Alina Ert-Erbert, segregatoraliny.pl
About “Tango with Plácido Domingo Jr.” directed by Michał Znaniecki
“(…) The “old stagers” from the former WCO did a great job: Artur Janda (Figaro), Aleksander Kunach (Basilio), Dariusz Machej (Bartolo) and Elżbieta Wróblewska (Marcellina). Another debut singer, Paulina Tuzińska (Barbarina), sounds very promising.”
Dorota Szwarcman, Polityka
About “The Marriage of Figaro” directed by Grzegorz Chrapkiewicz
“The production delights with its opulence and the richness of Baroque music performed on period instruments.”
Bronisław Tumiłowicz, Przegląd
on “Castor et Pollux” directed by Deda Cristina Colonna
“The set design lures and seduces, inviting the audience to lurk through its filigree openings – to observe, to guess, to imagine. The sheer abundance of stimuli often provoked in me a profound sense of wonder. Within Znaniecki’s staging, the intimate space of the Chamber Opera was transformed into a kind of silva rerum.”
Monika Jazownik, Presto
on “Don Giovanni” directed by Michał Znaniecki
“Celebrating forty years of artistic work in opera this season, Włodzimierz Nurkowski has created a great production in which he balances comic and tragic threads, brutality and cruelty with joie de vivre and faith in the triumph of good (…) Cleopatra was compellingly portrayed by Dorota Szczepańska (soprano), whose voice is superbly placed, powerful, and agile.”
Anna S. Dębowska, wyborcza.pl
on “Giulio Cesare” directed by Włodzimierz Nurkowski
“Musically and scenically, the performance is perfect – another successful production from the Warsaw Chamber Opera (…) The title role was magnificently interpreted by Aleksandra Opała, whose dark, beautiful mezzo-soprano moves with silken command through shades of gloom and despair, supported by a rich and well-grounded chest register.”
Tomasz Pasternak, orfeo.com.pl
on “Juditha Triumphans” directed by Maria Sartova
“The MACV Period Instrument Orchestra played as if inspired – dark-hued, rasping, melancholic, yet vibrant… The enchanting music of centuries past, performed with emotional intensity and technical excellence, rose above the orchestral pit to reach an audience of the present day (…)”
Małgorzata Komorowska, teatralny.pl
on “Dido and Aeneas” directed by Tomasz Cyz
“The music composed by Rafał Kłoczko for piano and percussion ensemble is accessible and intelligently crafted (…) Endowed with a coloratura soprano, the young Teresa Marut confirms her ease not only in musical theatre but also in the grand operatic repertoire (…)”
Jacek Marczyński, Ruch Muzyczny
on “I Want to Sing… but I Have Nowhere To” directed by Jerzy Snakowski
“The production is executed perfectly – musically, choreographically and dramatically. Broadway in Warsaw. A must-see.”
