"A really unusual musician with a uniquely beautiful sound quality matched with fierce intelligence. " - Sir Simon Rattle
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Michael Francis , Conductor
Yaroslav Shemet, Conductor
Bruno Berger-Gorski, Stage Director
Michał Klauza, Conductor
Debuts at Teatro Real, Teatro Municipal de Santiago, Freia Das Rheingold with London Philharmonic Orchestra, appearances with Boston Symphony Orchestra, Orchestre Philharmonique de Radio France, Rundfunk-Sinfonieorchester Berlin, Tenerife Symphony Orchestra, Israel Camerata, Wroclaw Philharmonic, Szczecin Philharmonic.
Pamina Die Zauberflöte with the Polish National Opera Warsaw 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, Violetta La traviata at the Grand Theatre of Poznan. Appearances at the Bayreuther Festspiele*, Tokyo Spring Festival*, Beethovenfest Bonn*, Nederlandse Reisopera*, Utrecht TivoliVredenburg*, a return to Festspielhaus Baden-Baden*, Beethoven's Christ on the Mount of Olives with Sir Simon Rattle and the Berlin Philharmonic Orchestra, Strauss' Vier Letzte Lieder with Orchestre Philharmonique de Luxembourg, collaboration with London Symphony Orchestra, Staatskapelle Berlin, Basel Sinfonieorchester. [*- cancelled]
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"
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.
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
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.
La soprano Iwona Sobotka tuvo momentos de brillantez, cumpliendo sobradamente el cometido.
introdujo unos pianísimos bien cincelados en los momentos precisos y unos agudos cargados de metal que le permitieron sobresalir ante tanto decibelio
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.
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.
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.
There is also impressive singing from Iwona Sobotka as Pamina
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.
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.
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.
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.
Sobotka’s portrayal of the Seraph’s divine presence was clad in exquisite vocal guise, encompassing the full variety of moods, ever admirably nuanced.
