Don Alvaro was a proper hero with a fine bel canto technique - old fashioned Verdi singing at its best
- Fiona Hook, Opera Now
Represented by
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Andrey Boreyko, Conductor
Robert Jindra, Conductor
Kay Link, Stage Director
Robert Jindra, Conductor
Kay Link, Stage Director
Robert Jindra, Conductor
Kay Link, Stage Director
Ctirad Sarka at Prague National Theatre, Mario Cavaradossi Tosca at Ópera Nacional de Chile and Krakow Opera, Turridu Cavalleria Rusticana, Canio Pagliacci with Opéra de Toulon, Parsifal at the Staatstheater Nürnberg, Alfredo La traviata and Chorus Opera with Polish National Opera, Silvanus Schuller, Penderecki’s Die schwarze Maske with Polish National Radio Symphony Orchestra.
Concert engagements with Krakow Philharmonic and Bydgoszcz Pomeranian Philharmonic.
Manrico Il trovatore and the Italian Singer Der Rosenkavalier Nürnberg Staatstheater, the title role of Don Carlo Bern Opera House, Shepherd in Szymanowski’s King Roger during the Bard Summer Festival, Rodolfo at the Nederlandse Reisopera, Cavaradossi Tosca Badisches Staatstheater Karlsruhe, Polish National Opera in Warsaw, Wrocław Opera.
Other significant roles include slavonic repertoire - Anatol Kuragin War and Peace, Prince Rusalka, Jontek in Halka, and also Italian spinto repertoire including Gustavo in Un ballo in maschera, Ismaele Nabucco.
Puccini - Tosca - E lucevan le stelle
Puccini - Tosca - E lucevan le stelle
Strauss - Die Frau ohne Schatten - Kaiser's scene
Strauss - Die Frau ohne Schatten - Kaiser's scene
Enorm wandlungsfähig zwischen heldentenoraler Leistung und fast verstummendem Entsetzen Tadeusz Szlenkiers Szenen: atemberaubend seine Bitte, einen Toten durch „die Sonnenstrahlen sanft wecken zu lassen“
Tadeusz Szlenkier konnte den jungen Kaiser und sein unentschlossenes Handeln überzeugend verkörpern. Seine metallisch gefärbte Tenorlage umfasste würdevoll seinen Rang ebenso wie das Fehlen von offen ausgedrückten Gefühlen für seine Gattin.
…Tadeusz Szlenkier, who stepped in at short notice for Raffaele Abete, sang Don Carlos from the side of the stage, while assistant director and evening director Alexander Kreuselberg embodied Don Carlos on stage. Szlenkier’s tenor ranges from velvety lyrical tones to heroic attack, and he was able to offer the audience an interesting interpretation.
