©
Soprano
Iwona Sobotka
"A really unusual musician with a uniquely beautiful sound quality matched with fierce intelligence. " - Sir Simon Rattle
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Upcoming Past
Dec 2022
17.
19:00
19:00
Simon Rattle, Conductor
Jan 2023
26.
20:30
20:30
Mozart - Requiem
Orchestra Sinfonica di Milano
Jan 2023
27.
20:00
20:00
Mozart - Requiem
Orchestra Sinfonica di Milano
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Nov 2022
20.
15:00
15:00
Lidiya Yankovskaya, Conductor
Dylan Evans, Stage Director
Nov 2022
18.
19:30
19:30
Lidiya Yankovskaya, Conductor
Dylan Evans, Stage Director
Nov 2022
23.
19:00
19:00
Maciej Tworek, Conductor
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Biography Highlights
Upcoming
Daughter The Nose at the Teatro Real Madrid, Roxana King Roger at the Chicago Opera Theatre, Manon Lescaut, Rusalka and Neala in Moniuszko’s Paria as a member of the soloist ensemble at Grand Theatre of Poznan. Appearances with London Symphony Orchestra, Orchestra Sinfonica di Milano, Nashville Symphony, and Warsaw Philharmonic
Recent Engagements
Violetta Valéry La Traviata at the Polish National Opera, Contessa Le Nozze di Figaro at the Estonian National Opera, Madame Butterfly, Tosca at the Grand Theatre of Poznan, Magda La Rondine at the Silesian Opera, Mimi La Boheme Opera Podlaska, Pamina Die Zauberflöte at the Polish National Opera and with the Komische Oper Berlin on tour in Macao and Taiwan, Tatiana Eugene Onegin and Donna Anna Don Giovanni at the Tchaikovsky Theatre in Perm, Esperanza Maria del Pilar at the Teatro de la Zarzuela Madrid.
Orchestral engagements have included Beethoven's Christ on the Mount of Olives with Sir Simon Rattle and the Berlin Philharmonic Orchestra, Strauss' Vier Letzte Lieder with Marek Janowski and Orchestre Philharmonique de Luxembourg and other projects with London Symphony Orchestra, Staatskapelle Berlin, Wiener Synmphoniker, and Orchestre Philharmonique de Radio France.
Stage Photos
© Michal Heller
© Michal Heller
© Michal Heller
© Michal Heller
© Ewa Zukowska
© Ośko/Bogunia, archives of the Grand Theatre of Poznań
Rusalka
Song to the Moon
Rusalka
Song to the Moon
La Traviata
Violeta Valéry - "E strano! Ah, forse e lui... Follie! Sempre libera"
La Traviata
Violeta Valéry - "E strano! Ah, forse e lui... Follie! Sempre libera"
Don Giovanni
"Crudele...Non mi dir"
Don Giovanni
"Crudele...Non mi dir"
Brahms Requiem
"Ihr habt nun Traurigkeit"
Brahms Requiem
"Ihr habt nun Traurigkeit"
Discography
Reviews & Press
Quincena Musical de San Sebastian - Beethoven - Christ on the Mount of Olives
La poderosa voz de la soprano polaca Sobotka nos presentó un ángel seráfico rico en matices, de amplio cromatismo y siempre segura, sabiendo adaptarse a la presencia rica de la voz del tenor, en el dúo que sigue a su primer recitativo.
Beckmesser
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Estupenda también la soprano polaca Iwona Sobotka como Serafín, en esa aria tremenda con una interválica rayana en lo imposible —plenamente lírica con buena coloratura
- Ana García Urcola , Scherzo
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Dresden Philharmonic - Verdi - Quattro pezzi sacri - Soprano
Le Te Deum conclut superbement la soirée avec l’utilisation de tout le chœur et l’orchestre, ainsi que, dans les derniers instants, l’apparition d’Iwona Sobotka, dont le timbre angélique est renforcé par le placement de la soprano en haut du premier balcon derrière le public.
- Vincent Guillemin , Resmusica
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Szymanowski - King Roger - Roxana
Iwona Sobotka makes her COT debut as Queen Roxana, who is spellbound by the mysterious Shepherd. Sobotka possesses a velvety soprano that eases into the upper register of Szymanowski’s Bel Canto leaning music. Chambers has a wonderful stage presence with a comic edge. His tenor is also well-suited to the baroque/bel canto role.
- Kathy D. Hey , 3CR,
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Polish singer, Iwona Sobotka, matched Godlewski’s intensity and provided a shimmering Queen Roxana. She persuasively championed the idea of love and brought seductive power to her Act II song inspired by the Shepherd.
- M.L. Rantala , HYDE PARK HERALD
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Orquesta Sinfónica de Barcelona - Verdi - Requiem - Soprano
La soprano Iwona Sobotka tuvo momentos de brillantez, cumpliendo sobradamente el cometido.
- Jesús Hernández , Opera World
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introdujo unos pianísimos bien cincelados en los momentos precisos y unos agudos cargados de metal que le permitieron sobresalir ante tanto decibelio
El Periodico
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la soprano Iwona Sobotka chante quelques passages en force dans le suraigu, mais nous fait rendre les armes par son interprétation bouleversante du Libera me conclusif, aux envolées aériennes et déchirantes.
- Florent Coudeyrat , ConcertoNet
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Komische Oper Berlin on tour in Australia & New Zealand - Mozart - Die Zauberflöte - Pamina
Pamina, sung beautifully by Soprano Iwona Sobotka on opening night. She played the heroine-in-need-of-rescue to perfection, but despite the sexism spouted by some characters, Pamina showed courage, determination and integrity. That said, she does fall into despair when she believes she is no longer loved by Tamino, and Sobotka sings Pamina’s aria with great feeling as she contemplates suicide.
- Vivienne Glance , The Conversation
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The performers, led by Polish soprano Iwona Sobotka playing Pamina and supported by the WA Opera and WA Symphony Orchestra, were not deterred by the extravagant production, but revelled in it.
- Nathan Hondros , Sydney Morning Herald
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There is also impressive singing from Iwona Sobotka as Pamina
- Jo Litson , Limelight
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London Symphony Orchestra - Beethoven - 9. Symphony - Soprano
The apotheosis was reached in Iwona Sobotka’s singing of that central Lied; with a strong, glowing upper register, the Polish soprano encapsulated the soundworld of Berg’s anti-heroine.[...] Sobotka returned at the end of the evening for Schiller’s finale in the Beethoven, at the head of a quartet of soloists [...]. They were excellent.
- John Alison , The Telegraph
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Iwona Sobotka, who soared through the Beethoven solo soprano lines, had in the first half been the soloist in Berg’s Lulu Suite, her tone luscious, her highest notes teetering on the edge of vulnerability.
- Erica Jeal , The Guardian
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Iwona Sobotka’s lustrous soprano, and her gleaming tone and accuracy above the stave were ideal in the central Lied der Lulu and in the final despairing appeal of Countess Geschwitz.
- Roy Westbrook , Bachtrack
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Berliner Philharmoniker - Beethoven - Christ on the Mount of Olives
Iwona Sobotka’s recitative and aria as Seraph travelled with ease between truly hochdramatisch delivery and greater intimacy: operatic, then, in the best sense. Her coloratura glittered yet never for its own sake, put to excellent musico-dramatic use.
- Mark Berry , Seen and Heard International
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Sobotka’s portrayal of the Seraph’s divine presence was clad in exquisite vocal guise, encompassing the full variety of moods, ever admirably nuanced.
