Julietta — Bohuslav Martinů
At the core, tenor Maciej Kwaśnikowski was present almost continuously on stage, shaping the role of Michel with lyrical clarity and a quiet sense of existential drift.
Wszechobecny na scenie Maciej Kwaśnikowski stworzył postać zagubionego bohatera, operując lirycznym tenorem nawet tam, gdzie partia wymagała większej siły.
Die Zauberflöte — W. A. Mozart
Maciej Kwaśnikowski's Tamino is also luminous. He is pure, innocent and courageous, with an appropriate stage performance, and a Mozartian tenor voice with clear and youthful tones, but valiant and virile, all brushed by a large palette of colors and nuances according to the situation.
The couple of lovers is as youthful as they are ardent: the light lyrical tenor of Maciej Kwaśnikowski, with a beautiful clear timbre and high vocal placement, works wonders as Tamino.
Die Schöpfung — Joseph Haydn
His naturally powerful and light voice in the middle and upper registers allows him to easily dominate the space with a brilliant timbre.
His constant care for the text — always intelligible — and the vocal line, combined with exemplary means, gives us constant pleasure. The timbre, the projection are there, in service of a natural expression, such as one loves.
Roméo et Juliette — Charles Gounod
Maciej Kwaśnikowski offers Tybalt with his vibrant high notes, deploying with his phrasing and vocal placement an intensity which suddenly rises — and never comes down again — with his anger.
Maciej Kwaśnikowski is an arrogant and unyielding Tybalt, his sonorous and well-projected voice hits the mark in the duel scene.
Maciej Kwaśnikowski and Huw Montague Rendall compete in elegance, accuracy in diction and feeling and youthful brilliance.
Special mention to Tybalt by Maciej Kwaśnikowski, absolutely excellent and to whom one would better entrust more important roles from now on.
Tristan und Isolde — Richard Wagner
Maciej Kwaśnikowski offers two very distinct characters, using all his amplitude and darkness of timbre in phrases of the Young Sailor who opens the opera, while the youthful freshness of his Shepherd seduces with his carefree and tender tone.
Everything starts very well with the intervention of Maciej Kwaśnikowski, who shows himself as the Sailor and then as the Shepherd in the last act, ideal with his freshness, clarity and bearing.
Così fan tutte — W. A. Mozart
Maciej Kwaśnikowski embodies a Ferrando close to the ideal, both manly and fragile when confronted with his fiancée's infidelity. This duality is found in the beautiful timbre of his voice and transpires in the aria Un'aura amorosa delivered on the breath, without superfluous artifice.
His Un'aura amorosa is a moment of grace.
Polish tenor Maciej Kwaśnikowski is a Ferrando full of lightness and candor, with a suave vocal expression. His brilliance becomes an expressive force in touching Un'aura amorosa.