"...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
Represented by
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Christof Loy, Conductor
Andreas Heise, Stage Director
Christof Loy, Conductor
Andreas Heise, Stage Director
Christof Loy, Conductor
Andreas Heise, Stage Director
Christof Loy, Conductor
Andreas Heise, Stage Director
Nicola Luisotti, Conductor
Robert Wilson, Stage Director
Nicola Luisotti, Conductor
Robert Wilson, Stage Director
Filippo II Don Carlo, Oroveso Norma at Staatsoper Stuttgart, Méphistophélès Faust with Canadian Opera Company, Timur Turandot and Gremin Eugene Onegin at Gran Teatre del Liceu, Boito’s Mefistofele at Staatsoper Stuttgart and Prague National Theatre, Méphistophélès Faust, Don Basilio Il barbiere di Siviglia and Vodnik Rusalka at Wiener Staatsoper, Verdi’s Requiem with St. Louis Symphony Orchestra, Count Walter Luisa Miller at Staatsoper Hamburg, return to the Royal Opera House as Timur Turandot.
Boris Boris Godunov at Teatro alla Scala, Leporello Don Giovanni at Staatsoper Berlin, Méphistophélès Faust at Staatsoper Hamburg, Stuttgart, and Grand Théâtre de Genève, Commendatore Don Giovanni, Timur Turandot at the Royal Opera House, Fafner Das Rheingold, Rodolfo La Sonnambula, Escamillo Carmen, Filippo II Don Carlo at Staatsoper Stuttgart, Timur Turandot at Teatro Real Madrid, Raimondo Lucia di Lammermoor and Skula Prince Igor with Opéra national de Paris, Colline La bohème and Don Basilio Il barbiere di Siviglia at Bayerische Staatsoper, Teatro Real Madrid, Commendatore Don Giovanni at Teatro Massimo di Palermo, Alidoro La Cenerentola at Deutsche Oper am Rhein.
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
Die Stuttgarter Oper kann sich für jede Vorstellung glücklich schätzen, in der Adam Palka auf der Bühne steht: sein Komtur ist im Verein von seiner immer noch prachtvoller umrissenen Bass-Potenz und maximaler Wort-Ton-Ausformulierung die Krönung dieser Aufführung. Eine wahre Instanz aus dem Jenseits, auch wenn Donna Annas Vater hier äußerst lebendig zur Rache schreitet.
Adam Palka promet enfin de briller dans le rôle de Raimondo, pour peu que ses aigus un brin voilés en ce soir de première reprennent, par la suite, du poil de la bête. Car ses graves et son médium corsés sont d’une remarquable tenue, et d’un caractère certain.
As Leporello next to the demonic love-savior Don Giovanni, Adam Palka convinces as a guest [...] not only with his dark and supple bass.... he impresses with his understanding of the role, which he accepted on short notice. In the famous aria "Madamia, il catalogo é questo" Palka convinces vocally as he equally sets playful accents with sly presence. At the end he is even applauded particularly enthusiastically.
Méphistophélès steals the show in the Wiener Staatsoper's Faust... In fact, if one were to give the devil his due, this opera would be named after him, particularly when the role is performed as admirably as by bass Adam Palka.
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.
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.
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.
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’.
