Reviews
„The Marriage of Figaro“ by Wolfgang Amadeus Mozart, Keith Warner (director), Teatr Wielki - Polish National Opera, 10th December 2010
As for the vocal interpretation, it was pleasing to hear Wojtek Gierlach in the role of Figaro.
Olgierd Pisarenko, „Ruch Muzyczny“, 23.01.2011
Symphony No. 9 by Beethoven, Orquesta Sinfónica de Navarra, Antoni Wit (conductor), 2011
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.
http://www.diariodenoticias.com/2011/03/01/ocio-y-cultura/cultura/predominio-coral-osn-y-orfeon-pamplones
“La damnation de Faust” by Hector Berlioz (Méphistophélès), Cracow Philharmonic, 2011
Soloists were a great asset to this presentation of La Damnation de Faust. Although tenor Pavlo Tolstoy (Faust) in his duet with Marguerite several times resorted to falsetto to sing high notes, the interpretation of the part was generally successful. Wojciech Gierlach (bass) proved a very good Méphistophélès (…) Such beautiful interpretations as a whole are not very frequent.
Anna Woźniakowska, ”Dziennik Polski”, 14th February 2011
Symphony No. 1 by Greif, Sinfonia Varsovia Orchestra, Marc Minkowski (conductor), 2008
In the solo part, Wojtek Gierlach sang beautifully, polishing the text and investing almost every phrase with significance.
Jacek Hawryluk, “Gazeta Wyborcza”, 20th August 2008
“L'Italiana in Algieri” (Mustafa), Minnesota Opera, 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, “OperaNews”, October 2007
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 (Pioneer Press), “The Twin Cities Newspaper”, 11th November 2007
As for the vocal interpretation, it was pleasing to hear Wojtek Gierlach in the role of Figaro.
Olgierd Pisarenko, „Ruch Muzyczny“, 23.01.2011
Symphony No. 9 by Beethoven, Orquesta Sinfónica de Navarra, Antoni Wit (conductor), 2011
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.
http://www.diariodenoticias.com/2011/03/01/ocio-y-cultura/cultura/predominio-coral-osn-y-orfeon-pamplones
“La damnation de Faust” by Hector Berlioz (Méphistophélès), Cracow Philharmonic, 2011
Soloists were a great asset to this presentation of La Damnation de Faust. Although tenor Pavlo Tolstoy (Faust) in his duet with Marguerite several times resorted to falsetto to sing high notes, the interpretation of the part was generally successful. Wojciech Gierlach (bass) proved a very good Méphistophélès (…) Such beautiful interpretations as a whole are not very frequent.
Anna Woźniakowska, ”Dziennik Polski”, 14th February 2011
Symphony No. 1 by Greif, Sinfonia Varsovia Orchestra, Marc Minkowski (conductor), 2008
In the solo part, Wojtek Gierlach sang beautifully, polishing the text and investing almost every phrase with significance.
Jacek Hawryluk, “Gazeta Wyborcza”, 20th August 2008
“L'Italiana in Algieri” (Mustafa), Minnesota Opera, 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, “OperaNews”, October 2007
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 (Pioneer Press), “The Twin Cities Newspaper”, 11th November 2007
