Edyta Kulczak, mezzosoprano

Puccini Madama Butterfly Kate Pinkerton Metropolitan Opera,
New York,
April 2014
" In the part of Kate Pinkerton, the “real American wife” of Butterfly’s beloved, mezzo Edyta Kulczak created a cameo of conflicted gentility as much with her quiet listening as with her handful of sung lines. "
- read whole review here

James Jorden,
observer.com,
April 8, 2014
Camille Saint-Saëns Samson et Dalila Dalila New Orleans
Opera Association,
March 2013
"As Dalila, mezzo-soprano Edyta Kulczak made a fine debut with the company, displaying a voluptuous tone that brought out all of the seductive qualities of the character. Her top notes soared with power. Kulczak’s handling of the opera’s most famous aria, “Mon coeur s’ouvre a ta voix,” was lovely. She developed her character into the full-blown seductive spider with “Amour! Viens aider ma faiblesse” at the start of the second act. She did show a rougher edge, sometimes straining, in her lowest register, but as an actress turned this to her advantage as it emphasized the visceral nature of her passions to bring down Samson."
- read whole review here

Theodore P. Mahne,
Nola.com,
March 16, 2013
Tchaikovsky Eugene Onegin Olga Cincinnati Opera
"Polish mezzo Edyta Kulczak, also making her Cincinnati Opera debut, was an appropriately playful Olga, contrasting well vocally with Monogarova's Tatiana. It would be good to hear her in a more substantial role." Joe Law, Opera News (read all) "Mezzo-soprano Edyta Kulczak contributes a 'full and rich voice' (Opera) to the role of Olga in her first time with the company." Operagasm "There could not have been a finer Lensky than Burden, who charmed in his love duet with Olga, an excellent mezzo-soprano named Edyta Kulczak." Janelle Gelfand, The Cincinnati Enquirer "Mezzo-soprano Edyta Kulczak, singing Olga, Tatyana's cheerful, outgoing sister, was full-voiced and flighty, giving full credence to Lensky's jealousy as she danced with Onegin in act two." Mary Ellyn Hutton, ConcertoNet.com (read all) "Edyta Kulczak's radiant Olga" Masha Zaretsky, Parterre Box (read all)
Vincenzo Bellini Norma Adalgisa Tulsa Opera, 2011
"...She [Brenda Harris as Norma] was well-matched by Edyta Kulczak, making her company debut as Adalgisa, the new object of Pollione's attentions. Kulczak has a powerful, radiant voice that blended magically with Harris' in the a cappella portion of the duet "Ah! si, fa core e abbraccia," that could command a stage by itself - as in the prayerful "Deh! Proteggimi, o Dio!" - and that could hold its own among the equally strong voices of Harris and Porretta in the trio that ends Act One."
- read whole review here

James D. Watts JR.,
Tulsa World,
May 2, 2011
Richard Strauss Ariadne auf Naxos The Composer Boston Lyric Opera, 2010
"...Tenor Brandon Jovanovich (Bacchus) and mezzo Edyta Kulczak (the Composer) also sang with power, and the rich supporting cast, too numerous to acknowledge individually, sang and acted with distinction."

Keith Powers,
Boston Herald,
March 13, 2010
"...But what really made the message were the performances of mezzo-soprano Edyta Kulczak as the Composer.
... Kulczak’s inspired portrayal of the Composer balanced brillant and expressive singing with a tremendous sensitivity to the character’s own passion and naiveté. It is easy to make the Composer an over-the-sleeve "artiste", but Kulczak delivered a much more nuanced and sympathetic interpretation."

Rebecca Marchand,
Boston Musical Intelligencer,
March 13, 2010
Camille Saint-Saëns Samson and Delilah Delilah Wrocław Opera, 2010
"Edyta Kulczak repeated the success of her Wrocław debut by recreating the title role on the same stage in the Saint-Saëns opera Samson and Delilah. She imbued the character of beautiful Philistine with emotional tension and gave an almost erotic dimension to her false confession of love for Samson. The expressive power of her performance was marked by grace and sensitivity. The mood of the final aria from Act I Printemps qui commence was dominated by anxiety and hostility while Amour, Viens aider is faibless, at the beginning of Act II, was characterized by passion and sensuality.

Delilah, in the singer’s interpretation, is a classically dark character. Once spurned by Samson, she is a woman of great beauty who desires power. In seeking revenge she seduces him and, ultimately triumphing, sees him defeated and humiliated. A captivating mezzo-soprano, Kulczak defined the personality of the main character magnificently, blending the unusual attributes of her voice with the tonal quality of the orchestra and the charm of the music.

Kulczak’s ability to build tension puts her among the best contemporary artists of the opera. In both roles discussed here it was clearly evident that it is primarily the music that informs her stage performance. Kulczak’s every movement and gesture becomes a narrative in its own right that is both faithful to the score and displays the depth of the psychology of the character. Her capacity to do this rises to the level of great art."

Polish Daily News, New York,
January 29, 2010
Georges Bizet Carmen Carmen Wrocław Opera, 2008-09
"Polish audiences had the opportunity to admire the great artist Edyta Kulczak at the Wrocław Opera, where during the 2008-2009 season she triumphed in the title role of the opera Carmen. In her performance she evoked the character with her beautiful, dark voice, great musicality and expressive personality.

She has all the advantages to make Carmen so memorable. She has the voice and beauty of an alluring gypsy woman, full of coquetry and sensual fire. She created the character by demonstrating Carmen’s psychological development, showing her as a young woman who, above all, embraces personal liberty. She loves only when she wants and works only when she pleases. She embodies the spirit of freedom coming into conflict with the laws of state and the customs of society all for the right to love. In Kulczak’s interpretation, Carmen is aware from the very beginning that death is better than any compromise and submits to her tragic fate.

Kulczak performs her role in the style of French music by Bizet, tinged with a suggestion of Spanish folklore. With incredible coquetry and nimbleness, she sang the famous Habanera L'amour est un oiseau rebelle thrillingly and passionately. After a row in a cigar factory, she exhibits defiance and contrariness as she sang Tra la la la la la la la! Moibrûle Coupe-moi, imbuing the song with magic. In Seguidilla Pres Des Remparts De Seville, against the background of tremolo strings, she seduced not only Don José, but the whole audience. She raised the temperature by spontaneously singing of joy in a tavern Lillas Pastii just as she did later in the opera with her lyrically rounded phrase Je suis Amoureuse!. She gave a more gloomy rendition while singing in the tavern set off by the dry and rhythmic accompaniment of castanets. In the third act, in the song about the death, En vain pour éviter she demonstrated the perfection of a low mezzo-soprano in command of the sound scale. By her ability to direct her voice in a simple melody, almost in non singing way, she conveyed the depth of tragedy, repeating the melodic phrase each time one step higher and with more emphasis. In this aria she reached a true vocal mastery. In her interpretation, the aria resembled a funeral march, perfectly consonant with her approaching death. It was with such a mournful tone in the finale, while repeating the non-melodic phrase Tu demandes l'impossible! in a dry recitative that she began her meeting with José, one that would end inevitably in tragedy."

Polish Daily News, New York,
January 29, 2010
Camille Saint-Saëns Samson and Delilah Delilah Wrocław Opera, 2008
"With great delight Polish audiences made the discovery of a new Polish star, mezzo soprano Edyta Kulczak who arrived directly from New York where hs performs with the Metropolitan Opera. Kulczak performed the part of Delilah with aplomb.

It is astonishing that Ms. Kulczak, a graduate of the class of professor Szostek Radkowa of Warsaw Music Academy, isn’t being mentioned together with Beczala, Kwiecien, Kurzak and Dober, all internationally accomplished artists.

On the Wrocław Opera stage, Kulczak, with her magnificent voice, not only dominated an orchestra of 100 musicians and a large choir, but also created a convincing character of a cruel seductress.
"Our Delilah" Boguslaw Tumilowicz, Weekly Review, April, 2009 "When we heard the aria "Mon coeur s'ouvre a ta voix" it all became clear - it was Delilah. Edyta Kulczak will drive every Samson to betrayal; she is beautiful, blessed with a full, tender mezzo soprano. Resplendent in her magnificent costume, she shone on the Wrocław stage." Anita Tyszkowska "Wrocławianin"
G.Verdi Aida Priestess The Metropolitan Opera, October 2004
"... Edyta Kulczak was a strikingly dark-toned Priestess. New York Times
BBC Singer of the World Competition Cardiff, June 2003
"... It's a musicality and the ability to communicate that sets apart the true performers, and here the 32-year-old mezzo Edyta Kulczak impressed with real dramatic fire." The Guardian "... In terms of dramatic intensity, there was perhaps no one who sang better or more consistently than the Polish mezzo Edyta Kulczak. Blessed with a full and rich voice and naturally elegant presence. Kulczak pleased audiences." Opera
G. Verdi La Traviata Flora The Metropolitan Opera, February 2003
"... Edyta Kulczak stood out as a stylish, unusually accomplished Flora" Opera News
G. Verdi La Forza del Destino Preziosilla A. Toscanini Fondazione, Busseto, Italy June, July 2001
"... Mezzosoprano Edyta Kulczak dalla avvenente figura dalla recitazione spigliata e soprattutto dalla grande sicurezza nei suoi notevoli mezzi vocali." "The attractive mezzosoprano, Edyta Kulczak delivered a captivating performance showing a great confidence and outstanding vocal abilities." Gazzetta Estate di Reggio "... Ha molto piu personalita …ha riempito il palcoscenico con brillantezza e vivacita e doti artistiche decisamente promettenti." "She has a great deal of personality and fills the stage with brilliance and vivacity and artistic gifts which are decidedly promising." L'Opera Magazine
G. Rossini Il Barbiere di Siviglia Rosina Santa Barbara Opera Theatre, May 2001
"... Her Rosina isn't hurt by her million dollar smile and overall good looks, but what ultimately wins the audience's heart is her unforced vocalism and ability to sing in character." Santa Barbara News-Press "... as Rosina, in black curls ...shows off a pure soprano, hitting her high notes robustly." Santa Barbara Independent "... Edyta Kulczak, who began her career in Poland, is a delightful Rosina, full of spunk and possessing a rich and free-flowing voice, especially endearing in her Una voce poco fa.." Ventura County Star
G. Verdi La Traviata Flora Opera Theatre of St. Louis, May/June 2000
"... as Flora, Violetta's healthy-lunged counterpart ... was superbly presented." St. Louis Riverfront Times "... Edyta Kulczak Flora was precisely sung and dramatically captured the artificially gay social facade of this character." Classical Singer
G. Handel Rodelinda Eduige Music Academy of the West, Santa Barbara
"... Edyta Kulczak was a diamond of passion in a setting of elegance." Montecito Journal "... Kulczak demonstrated strong vocal and acting talents to the role." Santa Barbara News-Press "... Edyta Kulczak as Eduige was secure and convincing from the start..." Los Angeles Times