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Baritone
Szymon Mechlinski
"Polish baritone Szymon Mechlinski plays a fabulous Onegin. The voice is sonorous, imperious, brittle as well as caressing." - Forum Opera Magazine
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Upcoming Past
Dec 2024
30.
19:30
19:30
José Miguel Pérez-Sierra, Conductor
David McVicar, Stage Director
Feb 2025
14.
19:00
19:00
Fabio Biondi, Conductor
Agnieszka Smoczyńska, Stage Director
Feb 2025
16.
19:00
19:00
Fabio Biondi, Conductor
Agnieszka Smoczyńska, Stage Director
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Dec 2024
27.
19:30
19:30
José Miguel Pérez-Sierra, Conductor
David McVicar, Stage Director
Dec 2024
19.
19:30
19:30
José Miguel Pérez-Sierra, Conductor
David McVicar, Stage Director
Dec 2024
16.
19:30
19:30
José Miguel Pérez-Sierra, Conductor
David McVicar, Stage Director
SHOW MORE
Biography Highlights
Upcoming & Recent
The Canadian Opera Company as Valentin Faust, Teatro Real Madrid as Lord Guglielmo Cecil Maria Stuarda, Opera Bordeaux as Don Pizarro Fidelio and the Santa Fe Opera Festival as Marcello La bohème. He will also return to the Polish National Opera as Paolo Albiani Simon Boccanegra.
Previous
Debut at Teatro Massimo di Palermo as Sharpless Madama Butterfly, return to the Polish National Opera as Marcello La bohème, Amonasro Aida and Francesco Cenci Beatrix Cenci, to Teatr Wielki Poznań as Miecznik The Haunted Manor, Teatro Regio di Parma as Counte di Luna Il Trovatore, the Dutch National Opera as Lord Guglielmo Cecil Maria Stuarda.
Awards
2022 Moniuszko Competition Second Prize Winner
Stage Photos
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The Veiled Prophet
The Veiled Prophet
Conte di Luna Aria - Il trovatore - Verdi
Conte di Luna Aria - Il trovatore - Verdi
Haunted Manor
Moniuszko
Haunted Manor
Moniuszko
Reviews & Press
Teatro Massimo di Palermo - Puccini - Madama Butterfly - Sharpless
The opposite projection is well-shown in the Consul Sharpless, portrayed by Simon Mechlinski, whose beautifully burnished timbre brilliantly supports him both in his dialogue with Butterfly and in the poignant trio of the final act.
- Caterina De Simone , operaclick
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In contrast, Simon Mechliński's interesting baritone string, grappling with Sharpless's conversational singing, proves to be well settled and homogeneous throughout the range, as well as capable of excellent stage realization of the U.S. consul.
Résonances Lyriques
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Another highlight of the evening was the exceptional voice of young Polish baritone Simon Mechliński in the role of Sharpless. He puts the power of a wonderfully projected and articulate sonorous voice at the service of the American consul's morality.
- Giuseppe Guggino , L’Ape musicale
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Verdi, G. - Il Trovatore - Count di Luna
...noted Simon Mechlinski performed the role of the Count de Luna and, just like with the duet, he was captivating throughout the evening. The moment he entered singing his “Tacea la notte” his voice was filled with elegance and beauty. These lines were sung with a melting expression. But in the trio that all changed and his voice gained strength and his breath control was striking as he sang the patterlike staccato phrasing with ease and with such increíble enunciation and diction. Here his tone boomed with anger and force. This was just a warmup for the aria to come. His “Il balen del suo sorriso” was a masterclass in breath control and sustaining lines. From the moment he started the aria, the voice was ardent with expression. His Count was romantic in every way and for these four minutes, one forgot that he was the villain of the opera. His melting baritone could go from a gorgeous mezzopiano to a passionate forte and each note was impeccably connected. Then after the passion of the aria came the cabaletta “Per me ora fatale.” Here the smoldering ardor was back but coupled with strength and drive. Each time he would push the tempo forward to emphasize his power. And what was so impressive about Mechlinski…on the repeat of the cabaletta, his breath control got better and his vocal quality gained strength. In the second part, during the “In braccio al mio rival,” the baritone sang with a sardonic tone that brought out the villainous quality of the character and showed his power over Azucena. But in their next interaction at the end of the opera, his final lines “E vivo ancor!” the bartone sang with remorse and madness. It was by far one of the best Count interpretations I have seen.
- Francisco Salazar , Operawire
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Wexford festival Opera - Donizetti - Don Pasquale - Malatesta
The undoubted standout performance was that of the young Polish baritone, Simon Mechlinski, who played the part of Dr. Malatesta. Aged only 23, Mechlinski sang and acted out the part with considerable skill and displayed an awareness of the stage that many singers with far greater experience fail to achieve. He showed a natural affinity with his character, slipping easily into Dr. Malatesta’s shoes, enthusiastically hamming it up for all it was worth, and drew out the full comedic potential of the role. It was his singing, however, that really captured the attention, for Mechlinski has an outstanding voice, and knows how to use it. He has a warm, dark-hued baritone. The voice is powerful, secure and flexible. His phrasing displays considerable intelligence, with an intuitive understanding of how to characterize the role; his use of subtle dynamic variations, colorful nuances, and well-placed accents was impressive. It was a prodigious performance and suggests that there is a very successful career looming on the horizon.
- Alan Neilson , Opera Wire
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Wexford festival Opera - Donizetti - Don Pasquale - Malatesta
Best of the cast was Polish baritone Simon Mechliński: a wily and witty Malatesta, he revealed a secure technique, a relaxed, agile baritone, and a comfortable stage presence, manipulating his patient with glee and ease.
Opera Today
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Wexford Festival Opera - Recital
I was very impressed with Mechliński’s performance as Dr Malatesta in Don Pasquale. This recital confirmed that this young man is a major new talent and destined for great things in the world of opera. He has a rich, clear, ringing voice, he is supremely musical, he has perfect intonation and his diction is excellent. His technique is quite extraordinary for such a young performer and the singing at this recital was entirely effortless. Melchiński is due to perform the role of Tchaikovsky’s Eugene Onegin in the coming months and he gave us a preview of this in his performance of Onegin’s aria. This performance had everything, combining power, lyricism, gorgeous tone colours and excellent diction. This was an absolutely superb recital from start to finish. I am sure Melchiński will make a terrific Onegin and he is clearly a performer to watch.
- Robert Beattie , Seen and Heard International
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Wexford Festival Opera - Saverio Mercadante - Il Bravo - Luigi
Dans ses plus rares interventions, on repère aussi Szymon Mechliński (Luigi), autre baryton magnifiquement timbré et très sonore, voire brillant dans le registre aigu, avec des notes graves plus discrètes.
- Irma Foletti , Anaclase
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Toulon Opera - Tchaikovsky - Eugene Onegin - Onegin
Le baryton polonais Szymon Mechlinski campe ce soir un fabuleux Onéguine. La voix est sonore, impérieuse, cassante comme caressante. Avec de solides graves, il ne fait qu’une bouchée de la tessiture de son ami (à une note près), sur lequel il exerce son emprise. Malgré l’antipathie que suscite le personnage des deux premiers actes, la sincérité de son jeu et de son chant dans la scène finale, sa profonde humanité nous conduisent à prendre part à ses souffrances.
- Yvan Beuvard , Forum Opera Magazine
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Le baryton polonais Simon Mechlinski est doté d’une voix immense, très musicale, au timbre rayonnant. Il incarne un Onéguine vibrant de justesse.
- Christian Dalzon , Concerto.net
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Le cygne noir Eugène Onéguine du baryton polonais Szymon Mechliński apparaît, tout de clair vêtu, en dandy byronien. Son physique sublimé par la scène traîne sur le plateau sa condescendance d’individu désabusé et provocateur. Il a dans la voix quelque chose de mécaniquement implacable, presque effrayant. L’énonciation est froidement définitive, la projection directe, les aigus acérés. Il sait mettre du trouble dans son chant lors du duel et lorsqu’il tombe en amour pour Tatiana, lors du duo paroxystique de l’acte III. La richesse du timbre convient à ce rôle métamorphique.
