"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 Scarpia. Berlioz 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
29.09 & 01/03.10.2021
Opéra Orchestre National Montpellier
Rigoletto (Monterone) - G:Verdi
Rigoletto is an opera in three acts[a] by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the 1832 play Le roi s'amuse by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851.
The work, Verdi's sixteenth in the genre, is widely considered to be the first of the operatic masterpieces of Verdi's middle-to-late career. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto, and Rigoletto's daughter Gilda. The opera's original title, La maledizione (The Curse), refers to a curse placed on both the Duke and Rigoletto by a courtier whose daughter the Duke has seduced with Rigoletto's encouragement. The curse comes to fruition when Gilda falls in love with the Duke and sacrifices her life to save him from the assassin hired by her father.
26/30.01 & 03/06/09/12/15/18.02.2022
Khovantchina (Strechniev) - M.Moussorgski
Like Mussorgsky's earlier Boris Godunov, Khovanshchina deals with an episode in Russian history, first brought to the composer's attention by his friend the critic Vladimir Stasov. It concerns the rebellion of Prince Ivan Khovansky, the Old Believers, and the Muscovite Streltsy against the regent Sofia Alekseyevna and the two young Tsars Peter the Great and Ivan V, who were attempting to institute Westernizing reforms in Russia. Khovansky had helped to foment the Moscow Uprising of 1682, which resulted in Sofia becoming regent on behalf of her younger brother Ivan and half-brother Peter, who were crowned joint Tsars. In the fall of 1682 Prince Ivan Khovansky turned against Sofia. Supported by the Old Believers and the Streltsy, Khovansky – who supposedly wanted to install himself as the new regent – demanded the reversal of Patriarch Nikon's reforms. Sofia and her court were forced to flee Moscow. Eventually, Sofia managed to suppress the so-called Khovanshchina (Khovansky affair) with the help of the diplomat Fyodor Shaklovity, who succeeded Khovansky as leader of the Muscovite Streltsy. With the rebellion crushed, the Old Believers committed mass suicide (in the opera, at least).