Wojtek Gierlach


"There’s a strikingly powerful Giorgio from the Polish bass Wojtek Gierlach."

The Times

"Vocally [he] is one of the show's highlights."


"Wojtek Gierlach proved himself a first-rate comedian: his weighty bass and hammy acting made a delightfully incongruous package. This young Pole is on the verge of a major career."

Opera News

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In the 2020/21 season, Polish bass Wojtek Gierlach returns again to Welsh National Opera to sing the role of Mephistopheles in Faust. A favourite at Polish National Opera, he also returns to Warsaw to sing The Gold Merchant in Cardillac.

Last season at WNO, he made role debuts as Sparafucile Rigoletto, Parson The Cunning Little Vixen and Procida in David Pountney’s new production of Les vêpres siciliennes.

In 2018/19 he sang Rocco Fidelio and Alidoro La Cenerentola at WNO, the latter being somewhat of a signature role for him, which he has also performed with Festival d'Aix-en-Provence, Deutsche Oper Berlin and Teatro Maestranza in Seville. He also returned to the role of Figaro Le nozze di Figaro and sang Zbigniew Straszny dwór at Teatr Wielki Poznań, and Commendatore Don Giovanni for Opera Wroclawska. On the concert platform, he appeared with the Royal Liverpool Philharmonic Orchestra for Dvořák’s Stabat Mater.

At Polish National Opera in Warsaw he has also appeared as Gesler Guillaume Tell, Talbot Maria Stuarda, Colline, Figaro, Raimondo Lucia di Lammermoor, Duce Alfonso Lucrezia Borgia, and Escamillo. Elsewhere in Poland, roles also include Selim Il turco in Italia and King of Clubs The Love for Three Oranges at Krakow Opera, and the title role of Don Giovanni at the Warsaw Mozart Festival.

This biography is for information only and should not be reproduced.

The Abduction from the Seraglio – Mini-Series (Osmin)

Irish National Opera (October 2020)

The bass Wojtek Gierlach appears in close-up as Osmin…. All of the singing is splendid… the overall effect is exciting, highly entertaining and a remarkably original contribution to opera under lockdown.

Opera Magazine

Moniuszko Flis (Szóstak), Podlasie Opera and Philharmonic Choir

NIFCCD 986 (March 2020)

Wojtek Gierlach discloses firm tone as the old soldier Szóstak

Opera Magazine

​ l Barbiere di Siviglia (Don Basilio), Polska Opera Królewska

(December 2019)

Wojtek Gierlach also was great in the premiere performance. His wonderful voice highlighted the horror of the La Calunnia aria.

Wojciech Giczkowski, Teatralna Warszawa

Les vêpres siciliennes (Procida), Welsh National Opera

(February 2020)

Wojtek Gierlach also succeeds brilliantly: his constant calls for the most obtuse nationalism never tire musically, as his art of legato knows how to confer nobility and elegance to the character of Procida.

Emmanuel Andrieu, Opera Online

Polish bass Wojtek Gierlach had plenty of vocal presence as Procida

Mark Pullinger, Bachtrack

Procida (Wojtek Gierlach) is unswervingly committed to the armed struggle. Gierlach sings it well

Lucien Jenkins, Critics Circle

Polish bass Wojtek Gierlach sang with authority as Jean de Procida.

Mark Ronan, The Article

​ Rigoletto (Sparafucile)

Welsh National Opera (October 2019)

My favourite voice of the night came from Wojtek Gierlach, who had the right rich bass and sense of menace for the role of Sparafucile

Simon Tavener, Daily Info

Fidelio (Rocco)

Welsh National Opera (June 2019)

Wojtek Gierlach was an excellent Rocco

Lucien Jenkins, Critics Circle

Penderecki Credo, Warsaw Philharmonic

(November 2018)

Wojtek Gierlach sang Credo in unum Deum, Crucifixus est with power

Anna S. Dębowska, Beethoven Association Warsaw

La Cenerentola (Alidoro)

Welsh National Opera (October 2018)

Alidoro was sung by Wojtek Gierlach in one of the star turns of the night: his voice had the velvety authority of Sarastro, albeit on prozac, and he was all magic and atmosphere, impressing with patter and pure cantabile alike.

Benjamin Poore, Bachtrack****

Wojtek Gierlach was an authoritative Alidoro, bringing just the right degree of gravitas to the role, which can easily seem either flippant or over solemn.

Glyn Pursglove, Seen and Heard International

Wojtek Gierlach commands the stage and adds a glorious air of mystery to the role of Alidoro, who is in effect, the Fairy Godmother of the show.

Entertainment Views

Lady Macbeth of Mtsensk (Priest), Royal Opera House

April 2018

Some notable cameos … Wojtek Gierlach as the Priest and Peter Bronder as the Shabby Peasant … offer highlights among the large cast.

Richard Fairman, Financial Times****

This revival is very strongly cast. Rosie Aldridge as the gang-raped Aksinya, John Daszak’s cuckolded Zinovy, and Wojtek Gierlach’s Priest each compel belief

Michael Church, Independent*****

Wojtek Gierlach a sonorous Priest

Yehuda Shapiro, The Stage****

Gierlach’s voice has huge resonance

Colin Clarke, Seen and Heard International

...the many solo roles were all extremely well sung, notably the sonorous bass of Wojtek Gierlach as the priest

Mark Ronan, Mark Ronan

There are strong cameos … from Wojtek Gierlach as a slippery, corrupt Priest.

Peter Reed, Classical Source*****

Fidelio (Rocco), Theater St. Gallen

March 2018

What luck that in Polish singer Wojtek Gierlach there is an absolutely wonderful, reliable, clear and charismatic bass singing Rocco; this instils life in the entire work from start to finish and makes this a tonal and musical feast.

Christoph Schlüren, NMZ

The cast is convincing with Wojtek Gierlach as Rocco.

Bettina Kugler, Tagblatt

Wojtek Gierlach's interpretation of Rocco is really excellent; he delights with an unforced sonority in his lower register

Kaspar Sannemann, Oper Aktuell

Notably… Wojtek Gierlach as a touchingly human Rocco

Vorarlberger Nachrichten

Maria Stuarda (Talbot), Deutsche Oper am Rhein

December 2017

the Polish bass Wojtek Gierlach ... proved a dignified, full-voiced partner for Golovneva

Christoph Zimmermann, Opera Magazine

CD recording: Nowowiejski Quo Vadis (Peter), Poznan Philharmonic Orchestra

October 2017

Peter, sung by the outstanding Wojtek Gierlach … [the oratorio] takes the listener on a dramatic journey in an almost cinematic fashion, made utterly convincing by this superb recorded performance.

Ivan Moody, Gramophone

La cenerentola (Alidoro), Den Jyske Opera

December 2016

The show is driven by Alidoro, sung perfectly by Wojtek Gierlach.


Alidoro was elegantly handled by Wojtek Gierlach.


The bass Wojtek Gierlach is excellent in a sympathetic role.


I Puritani (Giorgio), Den Jyske Opera

August 2016

Bass Wojtek Gierlach is really excellent in the sizable role of the good uncle who looks out for Elvira.

Thomas Michelsen, Politiken

Wojtek Gierlach as the Protestant pastor and Elvira's uncle is convincing in both [vocal and dramatic] respects.

Ole Straarup, Stiften.dk

The second act is dominated by Wojtek Gierlach, portraying the role of Protestant pastor Giorgio Valton and brother of Elvira's father. Vocally this is one of the show's highlights.

Mogens H Andersson, Operalogg

Il turco in Italia (Selim), Krakow Opera

March 2016

We were able to enjoy the excellent in terms of acting and vocal soloists, they [included] Wojtek Gierlach (Selim).

Książki WP

I Puritani (Giorgio), Welsh National Opera

September 2015

... properly thrilling thanks to his partnership with the Giorgio of Wojtek Gierlach. The Polish bass-baritone is much more of a bel cantist, and his mellifluous singing is based on a foundation of excitingly virile tone, making him convincing as the most avuncular figure among the Roundhead-Orangemen. Gierlach captures the character’s goodness and proves again the ‘Cinta di fiori’ is one of the most beautiful things written for that voice on account of not only Bellini’s melodic gifts but also his celebrated way of matching them so intimately with text.

John Allison, Opera

There’s a strikingly powerful Giorgio from the Polish bass Wojtek Gierlach.

Richard Morrison, The Times

David Kempster (Riccardo) and Wojtek Gierlach (Giorgio) spearheaded a stunning supporting cast.

Steph Power, The Guardian

This was a stirring evening, with ... sturdy support from David Kempster as the dogged protestant Riccardo Forth, and Wojtek Gierlach as Sir Giorgio.

Fiona Maddocks, The Guardian

Wojtech Gierlach’s Giorgio Valton had a richness of tone that made him more than simply the avuncular figure who supports Elvira’s wish to marry Arturo, and his duet with Elvira, “Sai com’ardi in petto mio”, gave this gifted Polish bass an equal partnership with Rosa Feola’s outstanding coloratura soprano.

Simon Rees, bachtrack

Polish bass Wojtek Gierlach is splendid as her uncle Giorgio.

Peter Collins, Wales Online

Polish bass Wojtek Gierlach presents a sterling account of Elvira’s uncle, Giorgio Valton.

George Hall, The Stage

Elvira’s uncle Giorgio, Wojtek Gierlach has a warmth and sensitivity that inform both his acting and his fine bass singing.

Michael Kelligan, Theatre in Wales

Guillaume Tell (Gessler) June 2015

Warsaw Teatr Wielki

Excellent singing and acting by Wojtek Gierlach as Gessler.

Jacek Marczyński, Rzeczpospolita

Wojtek Gierlach greatly proved himself as a tyrant psychopath.

Dorota Szwarcman, Polityka

Wojtek Gierlach was admirable.

Wojciech Giczkowski, Teatr dla Was

Alcina (Melisso) October 2014

The English Concert

The bass Wojtek Gierlach was a stentorian Melisso.

Anthony Tommasini, The New York Times

Wojtek Gierlach only got one aria as Melisso, but he sang this with vigorous commitment and throughout the opera was vividly characterful in his recitative.

Robert Hugill

Wojtek Gierlach’s Melisso ... impressed.

Kevin W Ng, Bachtrack

Bass Wojtek Gierlach ... as Melisso ... sang strongly.

George Grella, New York Classical Review

Wojtek Gierlach’s resonant bass Melisso completed the sublime blend of voices.

Clare Colvin, Express

Wojtek Gierlach, with his solid and even-scaled bass-baritone, was an accurate and imposing Melisso.

Moore Parker, The Opera Critic

Polish bass Wojtek Gierlach was a warmly communicative Melisso.

Christopher Corwin, Parterre

Wojtek Gierlach’s sturdy Melisso sang stylishly.

Anna Picard, The Times

Even the smaller roles emerged in sharp focus: the crisp bass of Wotjek Gierlach as Melisso ... contributed richly to the menu.

Rupert Christiansen, The Daily Telegraph

With regard to men, Wojtek Gierlach's beautiful, warm and flexible bass voice made it regrettable that his role was not longer.

Paris Broadway

Norma (Oroveso), Teatro Nacional de São Carlos

Lisbon (June 2014)

Equally impressive was bass Wojtek Gierlach, who had a solid and energetic presence in the important role of Oroveso.

Manuel Pedro Ferreira, Publico

Wojtek Gierlach (Oroveso) gave an excellent interpretation, convincingly performing the difficult musical phrasing that Bellini was always so keen to compose for the male roles in his operas.

Zita Ferreira Braga, Hardmusica

The cast was much more balanced…with noteable performances from Patrizia Biccirè and Wojtek Gierlach.

Bernardo Mariano, Diário de Notícias

Polish bass Wojtek Gierlach sang Oroveso with a pleasing timbre, giving a memorable performance.

Ana Rocha, Expresso

Semiramide (Assur) December 2012

Royal Danish Opera, Copenhagen

On the male side, I was particularly impressed with Wojtek Gierlach as the demigod Prince Assur.


Special attention should be paid to Polish bass, Wojtek Gierlach, as Assur... [who] combines intense stage presence with technical mastery.

Erik Exe Christoffersen, Peripeti

Beethoven Symphony No.9 (March 2011)

Orquesta Sinfónica de Navarra

In the demanding vocal parts, bass W. Gierlach was the most convincing of all the soloists. Gifted with a dark, succulent voice, he showed an aptitude for projecting his upper register.

Diario de Noticias

L’Italiana in Algieri (Mustafa) October 2007

Minnesota Opera

And as Mustafà, the Bey of Algiers - simpatico despite his casual allusions to impalement - Wojtek Gierlach proved himself a first-rate comedian: his weighty bass and hammy acting made a delightfully incongruous package. This young Pole is on the verge of a major career.

Larry Fuchsberg, Opera News

But Rossini's score and director Helena Binder's interpretation allow everyone on stage an opportunity to show off their vocal and comedic capabilities. In both regards, Wojtek Gierlach is a standout as Mustafa.

Rob Hubbard, The Twin Cities Newspaper

Wojtek Gierlach's Concert Repertoire


Christmas Oratorio
Ich habe genug
Mass in B Minor
St Johns Passion


Mass in C Major
Missa Solemnis
Cantata on the Accession of Emperor Leopold II
Coronation Mass
Symphony No. 9


Mass in F Minor
Te Deum


Stabat Mater




Saint Cecilia Mass


Symphony No. 1


Dettingen Te Deum


Die Schöpfung (The Creation)
Missa in Angustiis "Nelson Mass"
Die Sieben Letzten Worte
Missa in tempore belli


Glagolitic Mass


St Matthew Passion (Jesus)


Missa Solemnis


Die Erste Walpurgisnacht
Humboldt Kantate


Mass in C Major ("Coronation Mass")
Mass in C Minor ("Great Mass")


Quo Vadis


Passion (Jesus)


Dies Irae
Polish Requiem
Seven Gates of Jerusalem


Ivan the Terrible


Messa di Gloria


Petite Messe Solennelle
Stabat Mater


The Passion of Jesus Christ


Requiem for Mignon




Die sieben Todsünden

Wojtek Gierlach's Opera Repertoire


Norma (Oroveso)
I Puritani (Sir Giorgio)
Sonnambula (Conte Rodolfo)


Fidelio (Rocco, Don Fernando)


Norma (Oroveso)


Carmen (Escamillo)


Il Dissoluto Punito (Commendatore)


Lodoiska (Baron de Dourlinski)


Lucia di Lammermoor (Raimondo)
Lucrezia Borgia (Duce Alfonso)
Maria Stuarda (Talbot)


Monbar (Don Alonzo)


Orfeo ed Euridice (Orfeo)


Alcina (Melisso)
Agrippina (Claudio)
Imeneo (Imeneo/Argenio)


The Cunning Little Vixen (Parson)


Medea In Corinto (Creonte)


Semiramide (Mirteo)


Dziady-Widma (Widmo)
Straszny Dwór (Zbigniew)


L'Italiana in Algeri (Mustafa)


Don Giovanni (Don Giovanni/Leporello/Commendatore)
Le Nozze di Figaro (Figaro)
The Abduction from the Seraglio (Osmin)*


The Love for Three Oranges (The King of Clubs)


La Bohème (Colline)
Turandot (Timur)


Mozart and Salieri (Salieri)


Ciro in Babilonia (Zambri)
Il Barbiere di Siviglia (Don Basilio)
Il Turco in Italia (Selim)
Il Viaggio a Reims (Lord Sidney/Don Profondo)
L'Italiana in Algeri (Mustafa)
La Cenerentola (Alidoro)
La Donna del Lago (Douglas)
Guillaume Tell (Gessler; Leuthold)
La Gazza Ladra (Podesta)
Le Comte Ory (Gouverneur)
Mosè in Egitto (Faraone)
Semiramide (Assur)
Tancredi (Orbazzano)


Eros i Psyche (Hermes)


Lady Macbeth of Mtsensk (Pope)


Der Berggeist (Domoslav)


Maria (Wojewoda)


Les vêpres siciliennes (Procida)*
Rigoletto (Sparafucile)


Euryanthe (King Ludwig the 7th)

*Denotes role not yet performed

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