Wojtek Gierlach Selected Reviews

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

Les vêpres siciliennes (Procida), Welsh National Opera (February 2020)

“About Procida, the Bakunin of the piece, there is no such doubt. Wojtek Gierlach is solid in the role” - Stephen Walsh, The Arts Desk

“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

“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 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

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

Pendercki 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 (November 2018)

“Alidoro was sung by Wojtek Gierlach in one of the star turns of the night: his voice had the velvety authority of

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Wojtek Gierlach Selected Reviews

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)

“Musically, this is a very pleasing performance… culminating in the great scene between Maria and her confessor Talbot in act 3. … the Polish bass Wojtek Gierlach was standing in at short notice and he proved a dignified, full- voiced partner for Golovneva” -Christoph Zimmermann, Der Neue Merker

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

Wojtek Gierlach Selected Reviews

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 (Sir 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), Warsaw Teatr Wielki (June 2015)

“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

Wojtek Gierlach Selected Reviews

Alcina (Melisso), The English Concert (October 2014)

“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, Planet 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