Artist Profile

Aleksandra Olczyk - Profile picture
© Karpati&Zarewicz


Aleksandra Olczyk

"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

Marcin Kopec
+44 79 81 91 88 14

Anna Kovtun


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Biography Highlights


Current engagements

Queen of the Night Die Zauberflöte Metropolitan Opera*, Teatro Real in Madrid, Lincoln Center New York, Glyndebourne Festival*, Contessa di Folleville Il Viaggio a Reims Zurich Opera House*, Sophie Der Rosenkavalier, Violetta La Traviata, Gilda Rigoletto Wiesbaden State Theatre*.  [*cancelled]


Recent Engagements

Queen of the Night Die Zauberflöte Deutsche Oper Berlin, Komische Oper, Polish National Opera, Opéra de Lille, Finnish National Opera, Festivals of Perth, Adelaide in Australia, New Zealand and Volksoper Wien, Gilda Rigoletto Polish National Opera, Donna Fiorilla Il turco in Italia, Blonde Die Entführung aus dem Serail Warsaw Chamber Opera.



Australian Music Industry Helpmann Music Award - Best Female Performer 2019, Polish Music Industry Award - Koryfeusz Muzyki Polskiej 2020



Aleksandra Olczyk
© Karpati&Zarewicz

Queen of the Night

Mozart - Die Zauberflöte

Queen of the Night

Mozart - Die Zauberflöte


Reviews & Press


Teatro Real - Mozart - Die Zauberflöte - Die Königin der Nacht


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.

Opera World

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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.

- Mauricio Villa , Opera Wire

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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.

- José Irurzun , Seen and Heard International

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