Małgorzata Pawłowska
About

About

Born in 1994 in Kutno, Poland, Małgorzata Pawłowska is a talented opera singer known for her extraordinary vocal talent and dynamic stage presence. In 2016, she graduated with a Bachelor’s degree in solo singing and acting from the Frederic Chopin University of Music in Warsaw, and in 2018, she obtained a Master’s degree from the same institution, where she honed her skills under the guidance of Prof. Ryszard Cieśla.

 

Małgorzata made her debut in 2015 as the Countess in Mozart’s “The Marriage of Figaro.” Since then, she has performed on the stages of many significant opera theaters, including the Grand Theatre — National Opera in Warsaw, the Warsaw Chamber Opera, and the Oldenburg State Theatre in Germany. Since 2020, she has been a soloist at the Theater Plauen-Zwickau in Germany, where she showcases her skills by performing leading soprano roles, such as Rusalka in Dvořák’s “Rusalka,” Manon Lescaut in Puccini’s “Manon Lescaut,” and Rosalinde in Strauss’s “Die Fledermaus.”

Małgorzata’s artistic journey is marked by numerous prestigious awards. Her achievements include the 1st prize at the DA CAPO International Music Competition in 2022 and the “Premio Speciale del Teatro di Košice” at the 1st Online Classical Voice Competition SOI Scuola dell’Opera Italiana Fiorenza Cedolins in 2021. Her talent was also recognized in 2019, when she won 2nd prize at the International Vocal Competition Viva Calisia in Kalisz and was a finalist in the 18th Ada Sari International Vocal Art Competition in Nowy Sącz.

 

The soprano has been collaborating for years with the broadly defined Warsaw varieté scene. She has performed, among others, with the famous cabaret ‘Pożar w burdelu’ by Michał Walczak and Maks Łubieński, and in 2019, her one-woman opera show ‘Like a Diva’ premiered at the Druga Strefa Theatre, which was featured in the performances recommended by Newsweek Polska and Kukbuk.

 

She is currently preparing for the role of Salome in Strauss’s “Salome.”

Schedule

Schedule

J. Strauss – “Die Fledermaus”

ROSALINDE

OCTOBER 12, 20.2024

NOVEMBER 8, 16.2024

DECEMBER 6, 31.2024

FEBRUARY 28.2025

TICKETS

 

R. Strauss – “Salome”

SALOME

FEBRUARY 8, 14.2025

MARCH 5, 8, 15,29.2025

APRIL 13, 19,2025

MAY 04.2025

TICKETS

 

J. Offenbach – “Les contes d’hoffmann”

GIULIETTA

MAY 2, 10, 17, 23.2025

TICKETS

Videos

Videos

Repertoire

Repertoire

A. Dvořák – “RUSALKA” – Rusalka
P. Eötvös – “HARAKIRI” – Dolmetscher
P. Eötvös – “RADAMES” – Opernregisseurin
F. Lehár – “PAGANINI” – Anna Elisa
W. A. Mozart – “COSÌ FAN TUTTE” – Fiordiligi
W. A. Mozart – “DON GIOVANNI” – Donna Anna
W. A. Mozart – “LE NOZZE DI FIGARO” – Contessa
J. Pöckel, V. Yaskorski – “NACHTIGALL TAUSENDTRILLER” – Schwarzer König / Prinzessin
G. Puccini – “MANON LESCAUT” – Manon Lescaut
G. Puccini – “SUOR ANGELICA” – Suor Angelica
J. Strauss – “DIE FLEDERMAUS” – Rosalinde
R. Strauss – “ARIADNE AUF NAXOS” – Primadonna / Ariadne
R. Strauss – “SALOME” – SALOME
P. Tchaikovsky – “EUGENE ONEGIN” – Tatyana
C. M. von Weber – “DER FREISCHÜTZ” – Agathe
A. Zemlinsky – “DER ZWERG” – Ghita

Press

Press

“Małgorzata Pawłowska gives a breathtaking portrayal of a young woman gone mad, who is used to have things her way, having no moral qualms at all. She has a truly imposing vocal power. Even after her acrobatic dance, that escalades into a violent attack on Herodes.”

 

Roberto Becker, Die deutsche Bühne 09.02.2025

„But at the end every „Salome“ is only as good as it’s title heroes. With Małgorzata Pawłowska
there are no desires left unfulfilled. With an intense expression and an almost acrobat dance
(Choreograph Sergei Vanaev) she is the vocal and emotional power center of the production.”

 

Joachim Lange, Neue Musikzeitung 09.02.2025

“Malgorzata Pawlowska has a radiant, multi-faceted voice, with which she impressively shapes the title role in all its nuances and colors. Her suicide scene is heart-rending. She begins by getting rid of her nun’s habit and reveals how much she hates the rituals in the convent. For her visionary reunion with her son, the Polish soprano manages without any pathos or sentimentality – she sings it as simply and beautifully as possible.”

 

Gahre, Das Opernglas 6/2024

“Because the suffering and love of Malgorzata Pawlowska in the role of Manon, with an extraordinary directness of expression and brilliant clarity of voice, made this performance positively glow.”

 

Nicole Jähn, Freie Presse 26.05.23

 

“Pawlowska is zestful and hilarious in the performance. And, indeed, she sings like a diva.”

 

Renata Kim, Newsweek Polska – nr 45/2019

„In Suor Angelica, the entire ten-strong ensemble of nuns is tailored to the protagonist. Malgorzata Pawlowska as the guest for Angelica is a tailor-made singer who rises from the depths of suffering at the beginning to become the deeply wounded, deeply lonely nun Suor Angelica as the opera progresses. In her dialog with the Princess, she knows for the first time how to defend herself with vocal power and restrained opposition. However, her attempt to rebel is in vain. When she learns that her child has died at the age of five without her even being able to see it again, her resistance, her strength, her will to survive in the monastic community is broken. Her central aria Senza Mamma, which oscillates between vision and reality in Pawlowska’s work, is a highlight of the score. Dreamlike! Nightmarish!“

 

Thomas Honickel, IOCO Kultur im Netz 23.04.2024

„But why should one actually watch Manon Lescaut, and is the trip to Zwickau and later to Plauen worth it? Absolutely! The couple in Zwickau is very, very good. (…) Manon (Malgorzata Pawlowska) seems quite unassuming; her voice is very delicate, yet she is still very present, even when she is not supported by the movement choir. Then she suddenly becomes very determined and tempestuous. This is beautifully staged, and Puccini always works through these singers, these singing couples, whether they are called Callas, Tebaldi, or Pavarotti. In Zwickau, they are Wonjong Lee and Malgorzata Pawlowska, and they are worth attending.“

 

Bernhard Doppler, MDR Klassik, 02.05.23

„Małgorzata Pawłowska’s Rusalka captivates with her childlike, feminine charisma, her beautifully led soprano, not least in the touchingly performed Song to the Moon.“

 

Achim Dombrowski, Opera Online 15.10.2022

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„Malgorzata Pawlowska proves to be fully capable of the title role, convincing both vocally and in terms of performance – as the teenager tired of the underwater world, who dreams of love and of conquering the prince she has already observed while bathing, along with his world.“

 

Torsten Kohlschein, Freie Presse, 10.10.22

„This is already interesting acoustically, as the impression is indeed given that the incredibly demanding vocal parts seem somewhat easier and more effortless. This may also be due to the fabulous base level and the carefree nature of the ensemble, which is only slightly short of the class of the very great houses – starting with Małgorzata Pawłowska, who presents Ariadne just as virtuously and with a buoyant lightness…“

 

Meixner, Opernglas 1/2022

contact

contact

WORLD WIDE MANAGEMENT
Beate I. Mennicken
PR-Management artist communication
Heinrich-Zille-Str. 19
D – 15711 Zeesen (bei Berlin)

Phone

0049(0) 3375-5249877 or
0049(0) 3375-5249878
Monday–Friday | CET Central European Time