Soon to Watch

Tomasz Kumięga

baritone 

"Polish baritone Tomasz Kumiega gave an over the top performance as the Prime Minister, finding his rage, his passiveness, his helplessness and his humanity"

Michael Milenski - Opera Today 

"Tomasz Kumiega, a baritone, who started as something of a stagehand, turned into a sort of alter ego, in Britten’s “Tell Me the Truth About Love” and attractive in the Evening Star aria from Wagner’s “Tannhäuser.”

James R. Oestreich - New York Times 

"Tomasz Kumięga crucifie l'auditoire de la première à la dernière note, l'immensité de son volume et de ses accents sonores tirant Berlioz et Gautier (le compositeur et le poète qui s'identifient fortement dans ces mélodies) vers les accents tragiques de Rigoletto, la souffrance qu'il subit voire celle qu'inflige un ScarpiaBerlioz se métamorphose même en Wagner dans la voix de ce baryton lyrique héroïque"

Charles Arden - Olyrix 

"Dla kilku głosów warto było spektaklu wysłuchać. Przede wszystkim Hrabiego – Tomasza Kumięgi, którego częściej można usłyszeć za granicą niż w Polsce (mieszka w Paryżu), choć w mniejszych rolach; w WOK bywał Don Giovannim za kadencji Jerzego Lacha. Świetny głos i niezłe aktorstwo "

Dorota Szwarcman - Polityka 

Upcoming Performances 

January 2021

Opera National de Paris 

Cover of Der Graf 

Capriccio - R. Strauss

Capriccio, Op. 85,

is the final opera by German composer Richard Strauss, subtitled "A Conversation Piece for Music". The opera received its premiere performance at the Nationaltheater München on 28 October 1942.  Clemens Krauss and Strauss wrote the German libretto. However, the genesis of the libretto came from Stefan Zweig in the 1930s, and Joseph Gregor further developed the idea several years later. Strauss then took on the libretto, but finally recruited Krauss as his collaborator on the opera. Most of the final libretto is by Krauss.

25-26 March 2021

Opera de Reims 

Hidraot 

Armide - Ch. W. Gluck 

Gluck set the same libretto Philippe Quinault had written for Lully in 1686, based on Torquato Tasso's Gerusalemme liberata (Jerusalem Delivered). Gluck seemed at ease in facing French traditions head-on when he composed Armide. Lully and Quinault were the very founders of serious opera in France and Armide was generally recognized as their masterpiece, so it was a bold move on Gluck's part to write new music to Quinault's words. A similar attempt to write a new opera to the libretto of Thésée by Jean-Joseph de Mondonville in 1765 had ended in disaster, with audiences demanding it be replaced by Lully's original. By utilizing Armide, Gluck challenged the long-standing and apparently inviolable ideals of French practice, and in the process he revealed these values capable of renewal through "modern" compositional sensitivities. Critical response and resultant polemic resulted in one of those grand imbroglios common to French intellectual life.

9-11 April & 25-27 June 2021

Il Conte 

Le nozze di Figaro - W. A. Mozart 

The Marriage of Figaro (Italian: Le nozze di Figaro), K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on the 1784 stage comedy by Pierre BeaumarchaisLa folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"). It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity.

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