"...it is simply a permanent joy to listen to him on stage, or on record. Endowed with almost colossal, telluric vocal means"
- Olyrix, José Pons
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Constantin Trinks, Conductor
Kasper Holten, Stage Director
Constantin Trinks, Conductor
Kasper Holten, Stage Director
Constantin Trinks, Conductor
Kasper Holten, Stage Director
Titus Engel, Conductor
Paul-Georg Dittrich, Stage Director
Titus Engel, Conductor
Paul-Georg Dittrich, Stage Director
Bertrand de Billy, Conductor
Frank Castorf, Stage Director
Debuts as Mephistopheles Faust at the Royal Opera House Covent Garden and the Wiener Staatsoper, as Escamillo Carmen at Canadian Opera Company*, Teatro Liceu Barcelona debut as Gremin Eugene Onegin*. Filippo II Don Carlo, Count Rodolfo La Sonnambula, Oroveso Norma, and Fasolt Das Rheingold at the Staatsoper Stuttgart.
Debut at the Opéra de Paris Bastille as Skula Prince Igor, at the Staatsoper Stuttgart the title role Boris Godunov, the title character Mefistofele, Mephistopheles Faust, Sparafucile Rigoletto and the Four Villains Les contes d’Hoffmann. At the Teatro Real Madrid, Grand Théâtre de Genève, Staatsoper Stuttgart as Méphistophélès Faust, at the Deutsche Oper am Rhein Düsseldorf and Staatsoper Stuttgart as Alidoro La Cenerentola. Figaro Le Nozze di Figaro at Oper Köln and at the Bolshoi Theater Moscow, Publio La Clemenza di Tito at the Polish National Opera Warsaw, Caronte Orlando paladino at Théâtre du Châtelet Paris, and Colline La bohème at the Deutsche Oper am Rhein Düsseldorf and Staatsoper Stuttgart. At the Glyndebourne Festival as Don Basilio Il barbiere di Siviglia. The bass soloist part in Beethoven’s 9. Symphony with the Stuttgarter Philharmoniker and Beethoven’s Missa Solemnis with the Szczecin Philharmonic*. [*- cancelled]
Le Nozze di Figaro
Bolshoi Theatre Moscow - "Aprite un po' quegli occhi"
Le Nozze di Figaro
Bolshoi Theatre Moscow - "Aprite un po' quegli occhi"
Count Walter
Verdi - Luisa Miller
Count Walter
Verdi - Luisa Miller
Mephistopheles
Gounod - Faust
Mephistopheles
Gounod - Faust
Bass Adam Palka was a charming Méphistophélès, singing with a dark, cavernous voice, portraying the Devil more like a vampire/voodoo sorcerer. [...] He sang a powerful “Le veau d’or” and blended well with Florez’s voice in their act I duet “A moi, les plaisirs…”.
Adam Palka is an excellent Mephistopheles, fully entering into the demonic nature of this version of the character and proving to be menacing in tone and performance.
In another house debut Adam Palka – who had sung the role in Stuttgart – was an oddly charismatic Méphistophélès given how reptilian, vampiric and demonically intimidating he must be. His resonant bass notes were a thing of wonder given his long and lean physique.
Bass Adam Palka was a charming Méphistophélès, singing with a dark, cavernous voice, portraying the Devil more like a vampire/voodoo sorcerer. [...] He sang a powerful “Le veau d’or” and blended well with Florez’s voice in their act I duet “A moi, les plaisirs…”.
Adam Palka is an excellent Mephistopheles, fully entering into the demonic nature of this version of the character and proving to be menacing in tone and performance.
In another house debut Adam Palka – who had sung the role in Stuttgart – was an oddly charismatic Méphistophélès given how reptilian, vampiric and demonically intimidating he must be. His resonant bass notes were a thing of wonder given his long and lean physique.
...the bass Adam Palka, whose character appears little but is crucial in the last act, made his deep voice resonate as the statue of the Commander.
Bass Adam Palka was a charming Méphistophélès, singing with a dark, cavernous voice, portraying the Devil more like a vampire/voodoo sorcerer. [...] He sang a powerful “Le veau d’or” and blended well with Florez’s voice in their act I duet “A moi, les plaisirs…”.
Adam Palka is an excellent Mephistopheles, fully entering into the demonic nature of this version of the character and proving to be menacing in tone and performance.
In another house debut Adam Palka – who had sung the role in Stuttgart – was an oddly charismatic Méphistophélès given how reptilian, vampiric and demonically intimidating he must be. His resonant bass notes were a thing of wonder given his long and lean physique.
...the bass Adam Palka, whose character appears little but is crucial in the last act, made his deep voice resonate as the statue of the Commander.
Bass Adam Palka was a charming Méphistophélès, singing with a dark, cavernous voice, portraying the Devil more like a vampire/voodoo sorcerer. [...] He sang a powerful “Le veau d’or” and blended well with Florez’s voice in their act I duet “A moi, les plaisirs…”.
Adam Palka is an excellent Mephistopheles, fully entering into the demonic nature of this version of the character and proving to be menacing in tone and performance.
In another house debut Adam Palka – who had sung the role in Stuttgart – was an oddly charismatic Méphistophélès given how reptilian, vampiric and demonically intimidating he must be. His resonant bass notes were a thing of wonder given his long and lean physique.
...the bass Adam Palka, whose character appears little but is crucial in the last act, made his deep voice resonate as the statue of the Commander.
Adam Palka gelang mit einem packend emotionalen Bass ein tolles Debüt als Boris.
Adam Palka leiht dem von Skrupeln geplagten Boris seinen tragfähigen Bass und lässt ihn fast wie einen tragischen Held erscheinen, der sich selbst demontiert.
La basse Adam Palka propose une voix large au phrasé percutant tandis
mais les deux soudards d'Adam Palka et Andrei Popov sont parfaitement appariés, apportant à l'épopée sa touche bouffonne.
Adam Palka bellows formidably as Don Basilio
Visual surprises abounded, including smoke billowing from the cassock of Basilio during his Calumny aria – a louche, funny delivery from promising young bass Adam Palka.
The sonorous tones of Adam Palka as a very youthful and rather Mephistophelean Don Basilio are striking and he relishes all the dynamic and orchestra-mimicking opportunities of ‘La calumnia’.
It is simply a permanent joy to listen to him on stage or on record. Endowed with almost colossal, telluric vocal means, the Polish bass Adam Palka makes light work of the role of Mephistopheles in both its evil and almost comical aspects. In fact, he's going too far in several occasions and mishandles the phrasing too often unnecessarily accentuating the vocal or musical intention. His French is not yet too idiomatic, but the artist has vast resources that once channeled a bit, should allow him to count among the main basses of our time.
Adam Palka, der mit wunderbar sonorem, trefflich sitzendem und ausdrucksstarkem Bass die vier Gegenspieler Hoffmanns Lindorf, Coppélius, Dr. Mirakel und Dapertutto sang, die er auch ansprechend spielte.
In Faust, the devil always gets the best tunes; in this production, he also got the best voice: as he was for Oper Stuttgart last season, Adam Palka was sensational. Unusually for a bass, his voice is youthful and virile whilst also having immense reserves of power. He could make Méphistophélès impossibly suave and attractive or turn him, in an instant, into a terrifying authoritarian. One normally associates the deep notes of a bass with gravel or velvet: with Palka, they were cold steel.
Adam Palka gelang mit einem packend emotionalen Bass ein tolles Debüt als Boris.
Adam Palka leiht dem von Skrupeln geplagten Boris seinen tragfähigen Bass und lässt ihn fast wie einen tragischen Held erscheinen, der sich selbst demontiert.
La basse Adam Palka propose une voix large au phrasé percutant tandis
mais les deux soudards d'Adam Palka et Andrei Popov sont parfaitement appariés, apportant à l'épopée sa touche bouffonne.
Adam Palka bellows formidably as Don Basilio
Visual surprises abounded, including smoke billowing from the cassock of Basilio during his Calumny aria – a louche, funny delivery from promising young bass Adam Palka.
The sonorous tones of Adam Palka as a very youthful and rather Mephistophelean Don Basilio are striking and he relishes all the dynamic and orchestra-mimicking opportunities of ‘La calumnia’.
It is simply a permanent joy to listen to him on stage or on record. Endowed with almost colossal, telluric vocal means, the Polish bass Adam Palka makes light work of the role of Mephistopheles in both its evil and almost comical aspects. In fact, he's going too far in several occasions and mishandles the phrasing too often unnecessarily accentuating the vocal or musical intention. His French is not yet too idiomatic, but the artist has vast resources that once channeled a bit, should allow him to count among the main basses of our time.
Adam Palka, der mit wunderbar sonorem, trefflich sitzendem und ausdrucksstarkem Bass die vier Gegenspieler Hoffmanns Lindorf, Coppélius, Dr. Mirakel und Dapertutto sang, die er auch ansprechend spielte.
In Faust, the devil always gets the best tunes; in this production, he also got the best voice: as he was for Oper Stuttgart last season, Adam Palka was sensational. Unusually for a bass, his voice is youthful and virile whilst also having immense reserves of power. He could make Méphistophélès impossibly suave and attractive or turn him, in an instant, into a terrifying authoritarian. One normally associates the deep notes of a bass with gravel or velvet: with Palka, they were cold steel.
