Wojtek Gierlach

Bass

"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 2017/18, Polish bass Wojtek Gierlach makes his house debut at the Royal Opera House, Covent Garden, as the Priest Lady Macbeth of Mtsensk, as well as his role debut as Rocco Fidelio at Theater St. Gallen, where he previously sang Conte Rodolfo Sonnambula. A favourite at Polish National Opera, he returns to Warsaw to sing Hermes in Rozicky’s Eros i Psyche.

Last season he sang Sir Giorgio I Puritani – a role that already brought him great acclaim at Welsh National Opera – and Alidoro La cenerentola at Danish National Opera, 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. In Poland, appearances in 2016/17 included Colline La bohème at Podlaska Opera, Gesler Guillaume Tell at Polish National Opera and Escamillo Carmen with the Warsaw National Philharmonic.  He also sang a wide range of repertoire in concert, including Prokofiev’s Ivan the Terrible in Lisbon.

Other recent engagements include concert appearances with Helmuth Rilling at Konzerthaus Berlin, and with The English Concert under Harry Bicket as Melisso to Joyce DiDonato’s Alcina at the Barbican, Carnegie Hall, Théâtre des Champs Élysées and Theater an der Wien. He also sang Melisso in productions at Royal Danish Opera and Opéra national de Bordeaux.

Past engagements include Don Basilio Il barbiere di Siviglia with Deutsche Oper Berlin, Assur Semiramide at Royal Danish Opera, Oroveso Norma with Teatro National Sao Carlos Lisbon, Mustafa L'Italiana in Algeri at Minnesota Opera, Orbazzano Tancredi in Seville, Leuthold Guillaume Tell  as well as Sydney and Profondo Il viaggio a Reims at the Rossini Opera Festival in Pesaro, and Leporello Don Giovanni with Nico Opera Cape Town.

At Polish National Opera in Warsaw he also appeared as Zbigniew Straszny Dwor, Talbot Maria Stuarda, Colline, Figaro Le nozze di 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.

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La cenerentola (Alidoro), Den Jyske Opera

December 2016

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

Operalogg

Alidoro was elegantly handled by Wojtek Gierlach.

sklassisk

The bass Wojtek Gierlach is excellent in a sympathetic role.

Politiken​

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.

Kulturbloggen

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

Bach

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

Beethoven

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

Bruckner

Mass in F Minor
Te Deum

Dvorak

Stabat Mater

Fauré

Requiem

Gounod

Saint Cecilia Mass

Greif

Symphony No. 1

Händel

Dettingen Te Deum
Messiah
Saul

Haydn

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

Janacek

Glagolitic Mass

Knittel

St Matthew Passion (Jesus)

Koperski

Missa Solemnis

Mendelssohn

Elijah
Die Erste Walpurgisnacht
Humboldt Kantate

Mozart

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

Nowowiejski

Quo Vadis

Pärt

Passion (Jesus)

Penderecki

Credo
Dies Irae
Magnificat
Polish Requiem
Seven Gates of Jerusalem

Prokofiev

Ivan the Terrible

Puccini

Messa di Gloria

Rossini

Petite Messe Solennelle
Stabat Mater

Salieri

The Passion of Jesus Christ

Schumann

Requiem for Mignon

Verdi

Requiem

Weil

Die sieben Todsünden

Wojtek Gierlach's Opera Repertoire

Bellini

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

Beethoven

Fidelio (Rocco, Don Fernando)

Bizet

Carmen (Escamillo)

Carnicer

Il Dissoluto Punito (Commendatore)

Cherubini

Lodoiska (Baron de Dourlinski)

Donizetti

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

Dobrzynski

Monbar (Don Alonzo)

Gluck

Orfeo ed Euridice (Orfeo)

Händel

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

Mayr

Medea In Corinto (Creonte)

Meyerbeer

Semiramide (Mirteo)

Moniuszko

Straszny Dwór (Zbigniew) 

Mosca

L'Italiana in Algeri (Mustafa)

Mozart

Don Giovanni (Don Giovanni/Leporello/Commendatore)
Le Nozze di Figaro (Figaro)

Prokofiev

The Love for Three Oranges (The King of Clubs)

Puccini

La Bohème (Colline)
Turandot (Timur)

Rimsky-Korsakov

Mozart and Salieri (Salieri)

Rossini

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)

Różycki

Eros i Psyche (Hermes)

Spohr

Der Berggeist (Domoslav)

Statkowski

Maria (Wojewoda)

Weber

Euryanthe (King Ludwig the 7th)

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