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Baritone

Simon Mechlinski

"Polish baritone Szymon Mechlinski plays a fabulous Onegin. The voice is sonorous, imperious, brittle as well as caressing." - Forum Opera Magazine

Represented by

Marcin Kopec
marcin@tact4art.com
+44 79 81 91 88 14

Anna Kovtun
anna@tact4art.com

Representation

General World


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Upcoming Past
May 2023
28.
19:00

19:00

Enrique Mazzola, Conductor
Jetske Mijnssen, Stage Director

May 2023
28.
19:00

19:00

Enrique Mazzola, Conductor
Jetske Mijnssen, Stage Director

May 2023
25.
19:00

19:00

Enrique Mazzola, Conductor
Jetske Mijnssen, Stage Director

May 2023
21.
19:00

19:00

Enrique Mazzola, Conductor
Jetske Mijnssen, Stage Director

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Biography Highlights

 
 

Current & Future Engagements

Debut with Verdi Festival di Parma as Count di Luna Il Trovatore, Dutch National Opera as Lord Guglielmo Cecil Maria Stuarda, return to Teatr Wielki Warsaw as Marcello La Boheme, and to Wroclaw Opera as Ottokar Die Freischütz, Marcello La Boheme.

 
 

Other Engagements

Debuts with Seville’s Teatro de la Maestranza as Guglielmo Cosi fan tutte, Finnish National Opera Silvio Pagliacci, Opéra de Lyon as Strahlbusch Irrelohe, return to Wroclaw Opera as Ottokar Freischutz, Lescaut Manon, as Gasztold B. Radziwiłłówna and Escamillo Carmen, Teatro alla Scala Milano Krol Roger Krol Roger (cover)*, Silvio Pagliacci Finnish National Opera, Marcello La bohème Polish National Opera*, Wexford Opera Festival The Veiled Prophet, Opéra de Lyon as Strahlbusch Irrelohe*, Nationaltheater Mannheim Fillipe Maria Visconti Beatrice di Tenda, Polish Warsaw National Philharmonic Ryx Casanova, Poznan Opera as Lescaut Manon Lescaut, Opera Wroclaw Dandini La Cenerentola, Dr Malatesla Don Pasquale and Luigi Il Bravo with the Wexford Festival Opera, Foka Enchantress at the Opéra de Lyon, Eugene Onegin Eugene Onegin at the Theater Dortmund and Opera de Toulon, Yamadori Madama Butterfly Glyndebourne Festival, Fritz Die Tote Stadt at the Polish National Opera on tour, Raimbaud Le Comte Ory at the Dorset Opera Festival, Marcello La bohème at the Gdansk’s Baltic State Opera.
 
 

 
 

Competitions

2022 Moniuszko Competition Second Prize Winner

 
 

Stage Photos

 

The Veiled Prophet

The Veiled Prophet

Verdi - Il trovatore - Il balen del suo sorriso... - Verdi - Il trovatore

Opera Wroclawska 2019 Opening Gala

Verdi - Il trovatore - Il balen del suo sorriso... - Verdi - Il trovatore

Opera Wroclawska 2019 Opening Gala

Haunted Manor

Moniuszko

Haunted Manor

Moniuszko

 

Reviews & Press

 
 

Verdi, G. - Il Trovatore - Count di Luna

...noted Simon Mechlinski performed the role of the Count de Luna and, just like with the duet, he was captivating throughout the evening. The moment he entered singing his “Tacea la notte” his voice was filled with elegance and beauty. These lines were sung with a melting expression. But in the trio that all changed and his voice gained strength and his breath control was striking as he sang the patterlike staccato phrasing with ease and with such increíble enunciation and diction. Here his tone boomed with anger and force. This was just a warmup for the aria to come.   His “Il balen del suo sorriso” was a masterclass in breath control and sustaining lines. From the moment he started the aria, the voice was ardent with expression. His Count was romantic in every way and for these four minutes, one forgot that he was the villain of the opera. His melting baritone could go from a gorgeous mezzopiano to a passionate forte and each note was impeccably connected. Then after the passion of the aria came the cabaletta “Per me ora fatale.” Here the smoldering ardor was back but coupled with strength and drive. Each time he would push the tempo forward to emphasize his power. And what was so impressive about Mechlinski…on the repeat of the cabaletta, his breath control got better and his vocal quality gained strength.   In the second part, during the “In braccio al mio rival,” the baritone sang with a sardonic tone that brought out the villainous quality of the character and showed his power over Azucena. But in their next interaction at the end of the opera, his final lines “E vivo ancor!” the bartone sang with remorse and madness. It was by far one of the best Count interpretations I have seen.
 

- Francisco Salazar , Operawire

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Wexford festival Opera - Donizetti - Don Pasquale - Malatesta

The undoubted standout performance was that of the young Polish baritone, Simon Mechlinski, who played the part of Dr. Malatesta. Aged only 23, Mechlinski sang and acted out the part with considerable skill and displayed an awareness of the stage that many singers with far greater experience fail to achieve. He showed a natural affinity with his character, slipping easily into Dr. Malatesta’s shoes, enthusiastically hamming it up for all it was worth, and drew out the full comedic potential of the role. It was his singing, however, that really captured the attention, for Mechlinski has an outstanding voice, and knows how to use it. He has a warm, dark-hued baritone. The voice is powerful, secure and flexible. His phrasing displays considerable intelligence, with an intuitive understanding of how to characterize the role; his use of subtle dynamic variations, colorful nuances, and well-placed accents was impressive. It was a prodigious performance and suggests that there is a very successful career looming on the horizon.
 

- Alan Neilson , Opera Wire

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Wexford festival Opera - Donizetti - Don Pasquale - Malatesta

Best of the cast was Polish baritone Simon Mechliński: a wily and witty Malatesta, he revealed a secure technique, a relaxed, agile baritone, and a comfortable stage presence, manipulating his patient with glee and ease.
 

Opera Today

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Wexford Festival Opera - Recital

I was very impressed with Mechliński’s performance as Dr Malatesta in Don Pasquale.  This recital confirmed that this young man is a major new talent and destined for great things in the world of opera. He has a rich, clear, ringing voice, he is supremely musical, he has perfect intonation and his diction is excellent. His technique is quite extraordinary for such a young performer and the singing at this recital was entirely effortless. Melchiński is due to perform the role of Tchaikovsky’s Eugene Onegin in the coming months and he gave us a preview of this in his performance of Onegin’s aria. This performance had everything, combining power, lyricism, gorgeous tone colours and excellent diction.  This was an absolutely superb recital from start to finish. I am sure Melchiński will make a terrific Onegin and he is clearly a performer to watch.
 

- Robert Beattie , Seen and Heard International

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Wexford Festival Opera - Saverio Mercadante - Il Bravo - Luigi

Dans ses plus rares interventions, on repère aussi Szymon Mechliński (Luigi), autre baryton magnifiquement timbré et très sonore, voire brillant dans le registre aigu, avec des notes graves plus discrètes. 
 

- Irma Foletti , Anaclase

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Toulon Opera - Tchaikovsky - Eugene Onegin - Onegin

Le baryton polonais Szymon Mechlinski campe ce soir un fabuleux Onéguine. La voix est sonore, impérieuse, cassante comme caressante. Avec de solides graves, il ne fait qu’une bouchée de la tessiture de son ami (à une note près), sur lequel il exerce son emprise. Malgré l’antipathie que suscite le personnage des deux premiers actes, la sincérité de son jeu et de son chant dans la scène finale, sa profonde humanité nous conduisent à prendre part à ses souffrances.
 

- Yvan Beuvard , Forum Opera Magazine

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Le baryton polonais Simon Mechlinski est doté d’une voix immense, très musicale, au timbre rayonnant. Il incarne un Onéguine vibrant de justesse.
 

- Christian Dalzon , Concerto.net

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Le cygne noir Eugène Onéguine du baryton polonais Szymon Mechliński apparaît, tout de clair vêtu, en dandy byronien. Son physique sublimé par la scène traîne sur le plateau sa condescendance d’individu désabusé et provocateur. Il a dans la voix quelque chose de mécaniquement implacable, presque effrayant. L’énonciation est froidement définitive, la projection directe, les aigus acérés. Il sait mettre du trouble dans son chant lors du duel et lorsqu’il tombe en amour pour Tatiana, lors du duo paroxystique de l’acte III. La richesse du timbre convient à ce rôle métamorphique.
 

- Florence Lethurgez , Olyrix

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