"Music expresses that which cannot be said and on which it is impossible to be silent."
Victor Hugo
Edyta Kulczak is Principal Resident Artist at The Metropolitan Opera. An internationally renowned mezzo-soprano, Edyta has performed over 300 times at The Met since her 2003 debut as Flora in La Traviata. She has sung many roles under such renowned conductors as James Levine, Placido Domingo, Lorin Maazel and Valery Gergiev and also appears in concerts, recitals and music festivals at some of the world’s leading venues. In addition to her performances, Edyta currently serves as Executive Director of the KF Marcella Sembrich International Voice Competition.
As Dalila, mezzo-soprano Edyta Kulczak, displayed a voluptuous tone that brought out all of the seductive qualities of the character. (Dalila in Samson et Dalila, C. Saint-Saëns)
...in her performance she evoked the character with her beautiful, dark voice, great musicality and expressive personality. (Carmen, G. Bizet)
Possessing “brilliant and expressive singing with a tremendous sensitivity to character” (Ariadne auf Naxos Boston Musical Intelligencer) Edyta Kulczak has been a principal resident artist at The Metropolitan Opera since her debut as Flora in La Traviata in 2003.
Ms. Kulczak has performed over 300 times at The Metropolitan Opera in productions that include: Aida, Ägyptische Helena, Carmen, La Forza del Destino, Die Frau ohne Schatten, The Gambler, Lucia di Lammermoor, Lulu, Madama Butterfly, The Makropulos Case, Moses und Aron, Le Nozze di Figaro, Parsifal, Rigoletto, Rusalka, Suor Angelica, Le Rossignol, Simon Boccanegra, Il Trovatore, Les Troyens, I Vespri Siciliani, Die Walkürie, Rigoletto. During the 2016/17 season, Ms. Kulczak sang in Cyrano de Bergerac with leading tenor Roberto Alagna. This season, she again received critical acclaim as Flora in La Traviata under the direction of Nicola Luisotti.
At The Metropolitan Opera, she has performed under such illustrious conductors as James Levine, Placido Domingo, Valery Gergiev, Marco Armiliato, Lorin Maazel, Sir Colin Davis; as well as Paolo Arrivabeni, Jiri Belohlávek, Bernard de Billy, Asher Fisch, Friedrich Heider, Vladimir Jurowski, Fabio Luisi, Gianandrea Noseda, Donald Runnicles, Marcello Viotti, Emmanuel Villaume, Pierre Georgio Morandi and Nicola Luisotti.
Ms. Kulczak has also sung leading operatic roles with other opera companies including:
Edyta Kulczak, in addition to her operatic engagements frequently appears in concerts, recitals and music festivals at some of the most prestigious venues all over the world. She has sung at Carnegie Hall in New York, Sapporo, Tokyo, Gdańsk Philharmonic, Krakow, Olsztyn Philharmonic, Wroclaw as well as in major festivals including The Santa Fe Festival, Pacific Music Festival (Japan), Aegean Music Festival Orchestra Syros (Greece), Savonlinna Opera Festival (Finland) and The Spoleto Festival in Charleston.
Edyta Kulczak received her Master of Music degreee in Vocal Performance from the Fryderyk Chopin University of Music in Warsaw, studying under Krystyna Szostek-Radkowa. Winning a scholarship, she continued her vocal studies under Elizabeth Fischer and Mignon Dunn (Artist Diploma) at Northwestern University School of Music (1998-2001), at the Music Academy of the West under Marilyn Horne and at Accademia Verdiana in Busseto under Carlo Bergonzi. Ms. Kulczak was awarded first prizes with Barnett Foundation, the National Competition of the National Association of Teachers of Singing, Society of American Musicians and the Chicago Bel Canto Foundation Opera Competition, The Metropolitan Opera National Council Auditions, Loren Zachary and BBC Cardiff Singer of the World.
Edyta’s signature leading roles include Carmen, Carmen; Dalila, Samson et Dalila; Adalgisa, Norma; Olga, Evgeny Onegin, Composer, Ariadne auf Naxos.
New Orleans Opera, Louisiana
Opera Wroclawska, Poland
Opera Wroclaw
Poland
Opera Poznan
Poland
Boston Lyric Opera
Massachusetts
Tulsa Opera
Oklahoma
Cincinnati Opera
Ohio
Savonlinna Opera Festival
Finland
The Metropolitan Opera
New York
Santa Fe
New Mexico
The Metropolitan Opera
New York
The Metropolitan Opera
New York
The Metropolitan Opera
New York
The Metropolitan Opera
New York
The Metropolitan Opera
New York
Dallas Symphony Orchestra
Texas
Olsztyn Philharmonic
Poland
Cracow Opera Orchestra
Poland
Polish Consulat
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
"Music produces a kind of pleasure which human nature cannot do without."
Confucius
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
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New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
Szczecin,
Poland
Bydgoszcz,
Poland
Metropolitan Opera,
New York
Metropolitan Opera,
New York
Metropolitan Opera,
New York
Metropolitan Opera,
New York
Czeladz,
Poland
Dallas Symphony Orchestra,
Dallas
Dallas Symphony Orchestra,
Dallas
Metropolitan Opera,
New York
Metropolitan Opera,
New York
Metropolitan Opera,
New York
Metropolitan Opera,
New York
Metropolitan Opera,
New York
Metropolitan Opera,
New York
Metropolitan Opera,
New York
Metropolitan Opera,
New York
Metropolitan Opera,
New York
Metropolitan Opera,
New York
The Kosciuszko Foundation,
New York
Metropolitan Opera,
New York
Chamber Orchestra,
Weill Recital Hall at Carnegie Hall
Krynica-Zdrój,
Poland
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
The Metropolitan Opera,
New York
Kraków (Wawel Castle),
Poland
The Polish Baltic Frédéric Chopin Philharmonic,
Poland
Wrocław,
Poland
National Forum of Music, Wrocław,
Poland
Silesian Opera Bytom,
Poland
Chicago Chopin Society,
Chicago
New Orleans Opera,
LA
New Orleans Opera,
LA
The Naples Symphony Orchestra,
Naples, FL
Tulsa Opera,
Oklahoma
Tulsa Opera,
Oklahoma
Tulsa Opera,
Oklahoma
Cincinnati Opera,
Ohio
Cincinnati Opera,
Ohio
Olsztyn Philharmonic,
Poland
Poznan Opera,
Poland
Belgium
3"Music expresses that which cannot be said and on which it is impossible to be silent." Victor Hugo
Symphonic Orchestra of the Polish Baltic Philharmonic Gdansk
Symphonic Orchestra of the Polish Baltic Philharmonic Gdansk
Symphonic Orchestra of the Polish Baltic Philharmonic Gdansk
Symphonic Orchestra of the Polish Baltic Philharmonic Gdansk
Symphonic Orchestra of the Polish Baltic Philharmonic Gdansk
October 27, 2015 in the Consulate General of the Republic of Poland in New York.
EK
(from Orleanskaja deva / The Maid of Orleans)
(from Ariadne auf Naxos)
(from Tannhäuser)
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.
Theodore P. Mahne Nola.com, March 16, 2013
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
...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...
James D. Watts JR., Tulsa World, May 2, 2011
...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
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.
Polish Daily News, New York, January 29, 2010
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.
Polish Daily News, New York, January 29, 2010
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.
"Our Delilah" Boguslaw Tumilowicz, Weekly Review, April, 2009
... Edyta Kulczak was a strikingly dark-toned Priestess.
New York Times
... 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
... Edyta Kulczak stood out as a stylish, unusually accomplished Flora
Opera News
... Mezzosoprano Edyta Kulczak dalla avvenente figura dalla recitazione spigliata e soprattutto dalla grande sicurezza nei suoi notevoli mezzi vocali.
Gazzetta Estate di Reggio
... 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
... 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
... 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
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
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
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.Read whole review
Joe Law, Opera New
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.Read whole review
Mary Ellyn Hutton, ConcertoNet.com
Edyta Kulczak's radiant OlgaRead whole review
Masha Zaretsky, Parterre Box
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
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"
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 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
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