Wojtek Gierlach

Bass
Wojtek Gierlach
Wojtek Gierlach has been awarded numerous prizes in international singing competitions including the Ada Sari competition (1999 - First prize), Bilbao (2000 - Second prize), Caruso Prize (2001 Milan - First prize) and Francisco Viñas (2004 Barcelona - Third prize).

Some of his outstanding performances include Don Basilio in Il Barbiere di Siviglia at the Deutsche Oper Berlin; Assur in Semiramide at the Teatro Nacional São Carlos of Lisbon; Mustafa in L’italiana in Algeri at the Teatro São Carlos of Lisbon, Teatro Alighieri de Ravena and Minnesota Opera; Figaro in Le nozze di Figaro at Teatr Wielki in Warsaw, at Teatro Petruzzelli di Bari and in Poznan; Alidoro in La Cenerentola at the Festival d’Aix-en-Provence and at the Stadttheater Klagenfurt; Argenio in Imeneo for the Dublin Opera; Melisso in Alcina of the Opéra National de Bordeaux and with the English Concert and Joyce DiDonato (Alcina), under de baton of Harry Bicket at Carnegie Hall in New York, Théâtre des Champs Élisées in Paris and at Theater an der Wien; Orbazzano in Tancredi at Teatro Maestranza in Seville; Leporello in Don Giovanni at the Nico Opera Cape Town;  Conde Rodolfo in La Sonnambula at the Theater St.Gallen; I Puritani at the Welsh National Opera in Cardiff; Il Turco in Italia in Cracow; Maria Stuarda in Warsaw; I Puritani and La Cenerentola at the Den Jyske Opera in Aarthus; Guillaume Tell in Warsaw and La Bohème at the Opera Podlaska. In addition, he as performed Colline of La Bohème, Duce Alfonso of Lucrezia Borgia, Raimondo of Lucia di Lammermoor and Escamillo in Carmen at the Teatr Wielki in Warsaw.

His appearances in Concert include the main roles in Saul and Elijah conducted by Helmuth Rilling at the  Warsaw National Philharmonic Concert Hall; Missa Solemnis by Beethoven at the Berlin Konzerthaus, again under the baton of Helmuth Rilling, and also with the Orquestra Metropolitana de Lisboa and C. Costa; Magnificat by Bach with the Orquesta Nacional de España and Mireia Barera; Requiem by Mozart with Sinfonietta Cracovia conducted by Marc Minkowski; Requiem by Verdi conducted by Kai Baumannin at the Polish Baltic Philharmonic; Symphony No. 9 by Beethoven with the Ulster Orchestra and David Stern; Stabat Mater by Rossini with the Orquesta del Principado de Asturias and Alberto Zedda and Dies Irae by Penderecki with the Orquesta Simon Bolivar in Caracas, among others.

Among his recordings, we highlight Mose in Egitto and La Donna del Lago by Rossini and Semiramide by Meyerbeer with Richard Bonynge for NAXOS. Further, he recorded Il dissoluto punito by Ramón Carnicer under the baton of Alberto Zedda for IBERATOUR, Medea in Corinto by G.S. Mayr (Oehms), L'Italiana in Algeri by Luigi Mosca (Bongiovanni), Lodoïska by Cherubini and Euryanthe by Weber conducted by Łukasz Borowicz for the label POLSKIE RADIO and recently Guillaume Tell under the baton of Michele Mariotti for Deutsche Grammophon.

The 2017-2018 season included his debut at the Royal Opera House Covent Garden, as Priest in Lady Macbeth of Mtsensk, and the role of Rocco in Fidelio at the Theater St. Gallen, where he had already sung previously. He also sang the role of Giorgio Talbot in Maria Stuarda at the Deutsche Oper am Rhein, returned to the Polish National Opera to sing Hermes in Eros i Psyche by Rozicky,  to the Opera Podlaska to sing Colline in La bohème, and sang the role of Widmo of the opera Widma by Moniuszkoen at the Polska Opera Królewska - Teatr Królewski. He later sang Oroveso in Norma at the Teatre Principal de Palma and Alidoro in La Cenerentola at the Welsh National Opera. He also sang the Credo by Penderecki in Warsaw, with M. Valdes, Requiem by Saint-Saens with the Poznan Philharmonic and M. Wieloch, at a New Year Concert of the Bałtycka Opera in Gdańsk, with W. Kunc, a New Year Concert with José Cura, the Warsaw Philharmonic and M. de Rose, two concerts at Festival Dias da Musica in Lisbon singing Don Giovanni and  Ivan the Terrible, Requiem by Verdi with the London Philharmonic Orchestra under the baton of Matthew Hopkins, Litaniae and Vesperae by Mozart at the XIII Mozartiana Festival in Gdańsk,  Stabat Mater by Haydn with the Filharmonia Łódzka under the baton of P. Przytocki and participated in the XI Bosa Antica Festival in Italy.

His recent performances include Alidoro in La cenerentola at the Welsh National Opera Cardiff, under the baton of T. Hanuš, Straszny Dwór at the Polish National Opera, Figaro of Le Nozze di Figaro at the Teatr Wielki Poznań, Commendatore in Don Giovanni at the Opera Wrocławska, his debut of role of Mephisto in Faust at the Opera Wrocławska and Rocco in Fidelio at the Welsh National Opera. He has also sung Te Deum Polonia by Łukaszewski at the Polish National Opera, Credo by Penderecki at the Warsaw National Philharmony, under the baton of M. Valdes, Te Deum by Kilar in NOSPR, Katowice, Messa di Gloria by Puccini with the Filharmonia Krakowska and R. Bader, Great Mass in C minor K. 427 by Mozart with the Filharmonia Łódzka and P.Przytocki, and the Stabat Mater by Dvorak with the Royal Liverpool Philharmonic Orchestra under the baton of D. Hill.

His performances this season include Rigoletto, The Cunning Little Vixen and Les Vêpres siciliennes at the Welsh National Opera and Die Entführung aus dem Serail at the Irish National Opera.
Date Last Edited: 03/03/2020
Not to be altered without permission. Please destroy all previous biographical material.
RIGOLETTO (Sparafucille). Welsh National Opera. 2019

"Vocally, there were, thankfully, some highlights. 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)

LADY MACBETH OF MTSENSK. Royal Opera House. 2018

“Wojtek Gierlach makes a sonorous Priest”. Yehuda Shapiro (The Stage)

“Gierlach’s voice has huge resonance”.  Colin Clarke (Seen and Heard International)

“Solo roles were all extremely well sung, notably the sonorous bass of Wojtek Gierlach as the priest” (Mark Ronan Blog)

“Wojtek Gierlach as the Priest and Peter Bronder as the Shabby Peasant — offer highlights among the large cast”.  (Financial Times)

“Wojtek Gierlach’s Priest  compel belief”. Michael Church (Independent)

FIDELIO. Theater St. Gallen. 2018

"Wojtek Gierlach's interpretation of Rocco is really excellent; he delights with an unforced sonority in his lower register.” Kaspar Sannemann (Oper Aktuell)

"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 (Neue Musikzeitung)

"Wojtek Gierlach gives Rocco with sonorous bass.” Peter Hagmann (Musikkritiker)

MARIA STUARDA.Deutsche Oper am Rhein. 2017

"Musically, this is a very pleasing performance… culminating in the great scene between Maria and her confessor Talbot in act 3. … Polish bass Wojtek Gierlach, who had stepped in at short notice (but was clearly familiar with the role) was a worthy vis-à-vis for [Olesya Golovneva’s} Maria with his mighty bass voice.Christoph Zimmermann (Der Neue Merker)

I PURITANI. Welsh National Opera. 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)

I PURITANI. Den Jyske Opera . 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 respects [vocal and dramatic].”
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)

Alcina. Tour. 2014

"Wojtek Gierlach’s sturdy Melisso sang stylishly."
Anna Picard (The Times)

"The crisp bass of Wojtek Gierlach as Melisso contributed richly to the menu."
Rupert Christiansen (The Daily Telegraph)

"Wojtek Gierlach's resonant bass Melisso completed the sublime blend of voices."
Clare Colvin (Daily Express)

"The bass Wojtek Gierlach was a stentorian Melisso."
Anthony Tommassini (The New York Times)

NORMA. Teatro Nacional de São Carlos de Lisboa. 2014

"Very good were also bass Wojtek Gierlach, who had a solid and energetic presence in the important role of Oroveso,..."
Manuel Pedro Ferreira (Público)

"The cast proved to be much more balanced than the in previous "Gioconda", been greatly appreciated the Adalgisa by Patrizia Biccirè (Adalgisa) and Wojtek Gierlach (Oroveso).”
Bernardo Mariano (Diário de Notícias)

"Leaves good memory the well timbre voice of Polish bass Wojtek Gierlach in the role of Oroveso the druids' chief"
Ana Rocha (Expresso)

"...and bass Wojtek Gierlach (Oroveso) gave an excellent reply, singing the difficult musical phrases that Bellini was keen to compose for the male element of the opera."
Zita Ferreira Braga (Hardmusica)

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