"...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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Yi-chen Lin, Conductor
Andrea Moses, Stage Director
Nicola Luisotti, Conductor
Robert Wilson, Stage Director
Nicola Luisotti, Conductor
Robert Wilson, Stage Director
Yi-chen Lin, Conductor
Andrea Moses, Stage Director
Yi-chen Lin, Conductor
Andrea Moses, Stage Director
Yi-chen Lin, Conductor
Andrea Moses, Stage Director
Debuts as Boris Boris Godunov at Teatro alla Scala, Méphistophélès Faust at Staatsoper Hamburg, Canadian Opera Company, returns as Commendatore Don Giovanni, Timur Turandot to the Royal Opera House, Colline La bohème and Don Basilio Barbiere di Siviglia at Bayerische Staatsoper, Méphistophélès Faust, Vodnik Rusalka, Don Basilio Il Barbiere at Wiener Staatsoper, Fafner Das Rheingold at Staatsoper Stuttgart, Timur Turandot, Gremin Eugene Onegin at Gran Teatre del Liceu, Timur Turandot at Teatro Real Madrid, Raimondo Lucia di Lammermoor Opéra national de Paris, Rodolfo La Sonnambula, Escamillo Carmen, Filippo II Don Carlo all at Staatstheater Stuttgart.
Méphistophélès Faust at Wiener Staatsoper, Royal Opera House*, Teatro Real Madrid, Grand Théâtre de Genève, Commendatore Don Giovanni at Royal Opera House, Teatro Massimo di Palermo, Skula Prince Igor at Opéra national de Paris, Don Basilio Il barbiere di Siviglia at Glyndebourne Festival; Alidoro La Cenerentola at Deutsche Oper am Rhein Düsseldorf, Stuttgart, Figaro Le nozze di Figaro at Oper Köln, Bolshoi Theatre Moscow, Deutsche Oper am Rhein Düsseldorf, Boris Boris Godunov, Mefistofele Boito’s Mefistofele, Sparafucile Rigoletto, Colline La bohème, Leporello Don Giovanni, Giorgio Valton I puritani - all at Staatsoper Stuttgart. [*- 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
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’.
