Krystyna Michałowska

Krystyna Michałowska (born July 13, 1946 in Vilnius ) is a German-Polish opera singer ( mezzo-soprano ).

Life

Krystyna Michałowska grew up in Gdansk and initially studied medicine there. The eminent singer and teacher Barbara Iglikowska discovered her voice and began teaching it. Michałowska completed her operatic training at the Conservatory and then at the Music Academy in Gdansk. During her studies she sang in the choir and as a soloist at the Baltic Opera in Danzig. There she made her debut in 1969 as Jadwiga in The Ghost Castle (Straszny Dwór) by Stanisław Moniuszko . In 1972 she went to the Opera House in Bromberg ( Bydgoszcz ) as a soloist , where she made her debut as Azucena in Verdi's Il Trovatore and sang great roles such as Marta in Tiefland , Santuzza in Cavalleria rusticana and Rosina in The Barber of Seville . In 1976/77 she moved back to the Baltic Opera in Danzig. Engagements and guest performances took her to the opera houses a. a. in Poznan, Szczecin, Warsaw. After a guest performance by the Danziger Oper at the Bremen Theater as Leonore in Donizetti's Die Favoritin , she continued her international career in West Germany. From 1980 to 1994 she was an excellent member of the ensemble at Theater Bielefeld . Since then, she has been involved as a singing teacher (including at Bielefeld University). She has often made guest appearances at home and abroad. a. to the houses of Dortmund, Mannheim, Nuremberg as well as to Belgium, the Netherlands and France (May musical in Bordeaux, opera house in Marseille).

repertoire

Krystyna Michałowska has mastered a broad operatic repertoire in the Italian, French and German mezzo-soprano fields and is also active in the concert field (e.g. with Verdi's Requiem). Her voice, trained as a soprano, has a large range; After the early change of subject, the easy height was joined by the rich, colorful middle register and a strong, dramatic depth. Ambitious productions at the Bielefelder Theater under the direction of Heiner Bruns gained nationwide attention in the 1980s and 1990s. In addition to numerous roles in rediscovered operas by Schreker ( The Singing Devil ) and Korngold ( The Miracle of Heliane ), she was particularly successful with the following roles: Adalgisa, Amneris, Carmen, Czipra, Dalila, Eboli, Frederica, Mrs. Quickly, Niklas, Santuzza, Ulrica. In the German subject, the wet nurse in Strauss' Frau ohne Schatten , Brangäne and Ortrud in Wagner's Tristan und Isolde and Lohengrin were important; in the Russian subject, the popular roles in Tchaikovsky's Eugene Onegin (Larina, Olga, Filipiewna) and Mussorgsky's Boris Godunow (Fyodor). Interesting highlights were the roles of Marchesa de Poggio in Verdi's early opera Un Giorno di Regno , the musette in Leoncavallo's La Bohème and - especially critically acclaimed - the title role in Bizet's Carmen and Fides in Giacomo Meyerbeer's The Prophet ( Le prophète ).

Web links

• To the Bielefeld productions, fansite Opern-Freund
• Biography on opern-freund.de