„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