"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."
Polish bass Wojtek Gierlach begins his 2016/17 season at Den Jyske Opera as Sir Giorgio I Puritani - a role he sang to great acclaim for Welsh National Opera last season - and Alidoro La Cenerentola . He appears with Filharmonia Slaska singing The Creation and joins Warsaw National Philharmonic for Puccini’s Messa di Gloria and as Escamillo Carmen. He sings Handel’s Messiah with Podlaska Philharmonic. Future engagements also include his debut at the Royal Opera House, Covent Garden.
The 2015/16 season also saw him as Zbigniew Straszny Dwor and Talbot Maria Stuarda at Warsaw Teatr Wielki, Figaro Le nozze di Figaro in Poznan, Selim Il turco in Italia at Krakow Opera and as Don Giovanni at the Warsaw Mozart Festival, as well as in numerous concert performances across Poland, Germany and the UK.
Other recent engagements include Melisso Alcina with The English Concert under Harry Bicket alongside Joyce DiDonato at the Barbican, Carnegie Hall, Théâtre des Champs Élysées and Theater an der Wien, and at Royal Danish Opera. He also appeared as Gesler Guillaume Tell in David Pountney’s production at Warsaw Teatr Wielki, and as King of Clubs The love for three oranges in Krakow, as well as in concert at Konzerthaus Berlin under Helmuth Rilling.
Past engagement also 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, Alidoro with Festival d’Aix-en-Provence, Melisso with Opera National de Bordeaux, Orbazzano Tancredi with Teatro Maestranza in Seville, Leporello Don Giovanni with Nico Opera Cape Town and Conte Rodolfo La Sonnambula in St Gallen.
At Polish National Opera in Warsaw he also appeared as Colline La Boheme, Figaro, Raimondo Lucia di Lammermoor, Duce Alfonso Lucrezia Borgia, and Escamillo .
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I Puritani (Giorgio), Den Jyske Opera
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
We were able to enjoy the excellent in terms of acting and vocal soloists, they [included] Wojtek Gierlach (Selim).
I Puritani (Giorgio), Welsh National Opera
... 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.
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.
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
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 opera and concert repertoire
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