"Triumphant Queen of the Night by Aleksandra Olczyk in those two great and imperishable arias that created the greatest composer of all times"
- Periodista Digital about TEATRO REAL debut
Represented by
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Andriy Yurkevych, Conductor
Gilbert Deflo, Stage Director
Andriy Yurkevych, Conductor
Gilbert Deflo, Stage Director
Jacek Kaspszyk, Conductor
Sjaron Minailo, Stage Director
Königin der Nacht Die Zauberflöte with The Metropolitan Opera, Opéra national de Paris, Staatsoper Berlin, The Royal Opera House, Teatro Real Madrid, Teatro dell'Opera di Roma, Semperoper Dresden, Staatsoper Hamburg, Volksoper Wien, the Glyndebourne Festival, and Poznan Teatr Wielki, Carmina Burana, Violetta La traviata and Gilda Rigoletto with the Polish National Opera, Violetta La traviata with Krakow Opera.
Königin der Nacht Die Zauberflöte at Deutsche Oper Berlin, the Polish National Opera, Opéra de Lille, the Finnish National Opera, Festivals of Perth and Adelaide in Australia, New Zealand and Volksoper Wien, Gilda Rigoletto with the Polish National Opera, Sophie Der Rosenkavalier at Hessisches Staatstheater Wiesbaden.
Australian Music Industry Helpmann Music Award - Best Female Performer 2019, Polish Music Industry Award - Koryfeusz Muzyki Polskiej 2020
Queen of the Night
Mozart - Die Zauberflöte
Queen of the Night
Mozart - Die Zauberflöte
Susanna
Mozart - Le Nozze di Figaro
Susanna
Mozart - Le Nozze di Figaro
Polish soprano Aleksandra Olczyk was the Queen of the Night, singing with laser focus and brilliant tone, using the music to devastating effect and wonderfully vibrant tone throughout her range
destinando para la segunda y más famosa (“Der Hölle Rache”) toda una gama de picados emitidos con una limpieza y una proyección sonora realmente irreprochables. Algo admirable, pues no se suelen encontrar cantantes que afronten estas exigencias con tanto aplomo vocal.
Polish soprano Aleksandra Olczyk, who portrayed The Queen of the Night, was another revelation [...], she has an unusually dark and big voice which is not common in such a stratospheric role. When she began the slow part of her first aria “O zittre nicht,” which is very central, she sounded like a pure lyric soprano with a velvet quality and fair vibrato. Her voice grew as she rose up with the two A flats sounding particularly round and full. I found myself wondering how she would managed to sing the Allegro part of the aria with all the coloratura and high notes. However, her coloratura was clean and impeccable and her voice kept growing in size and projection while reaching the several high Ds and Cs. She also managed to hold the high F a few seconds rather than the usual staccato short note that most sopranos do. Her interpretation of “Der hölle rache” sounded vengeful and menacing thanks to the qualities of her voice. She managed to sing the staccato high Cs with an unusual force and power and really matched the intentions of the character. All the high Fs were perfectly in pitch and rhythm, keeping all the staccato sections completely balanced in volume and metric. She was exceptional in the staging as she had to sing the arias with her whole body covered by a plank over which a projection of her spider body was shown. Only her head was visible, so she had to sing completely still with her arms close to her body. That’s a very hard task to manage, especially when singing so many coloratura and stratospheric high notes. She was obviously one of the most applauded singers of the night, and she deserved it.
The best performance in the cast came from soprano Aleksandra Olczyk as the Queen of the Night. She has an attractive voice and had no problems with the stratospheric notes. We will be hearing more of her.
