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Adrianne makes a "thrilling" Sieglinde in the Met's Die Walküre
A "radiant" Elisabeth in the Canadian Opera Company's Don Carlos"Pieczonka's powerful soprano positively glowed with emotion and deep understanding, climaxing in an exquisitely phrased "Toi qui sous le néant." Pieczonka and Hendricks offered clear French diction and proved themselves natural, involving actors." (Opera News, January 2008) "Soprano Adrianne Pieczonka was looking radiant and singing magnificently, developing the character of Elisabeth, Philip's reluctant young queen, visibly and touchingly." (The Globe & Mail, 15 October 2007) "The undisputed vocal stars are soprano Adrianne Pieczonka, as Elisabeth, and bass-baritone Terje Stensvold, making his COC debut as Philippe II. Both had the vocal power and dramatic depth to shine in these difficult roles." (Toronto Star, 15 October 2007) Verdi Requiem with the Los Angeles Philharmonic"Soprano Adrianne Pieczonka, whose previous LAO appearances include Countess Almaviva and the Marschallin, was riveting in the Libera Me, singing with steely resolve and credibly portraying a character pleading for salvation. Throughout the Requiem, she displayed focused, gleaming tone, secure top notes and beautifully floated high pianissimos." (Opera News, December 2007) 'Radiant' Sieglinde - Adrianne once again seduces Bayreuth in Die Walküre"Adrianne Pieczonka's feminine, radiant and musical Sieglinde proved an oasis of lyricism in a desert of high voices." (Opera, November 2007) "In this wonderful atmosphere, Sieglinde, radiantly portrayed by Adrianne Pieczonka, creates a very complete character , vigorous, not deprived of dreams, but with a fragility that is both passionate and real."(Altamusica, 10 August, 2007) Adrianne "radiantly warm" in Munich Marschallin“Canadian Adrianne Pieczonka was radiantly warm and elegant as the Feldmarschallin; her rich, glorious voice was totally natural with no operatic pretensions, just like her acting.” (American Record Guide, November-December 2007) "Stunning" performance at the Luminato Festival's Opera Gala - LUNA"Pieczonka also had a few revelations to make. This great soprano stayed away from the Germanic repertoire for which she is best known (her latest album was all Wagner and Richard Strauss), sticking to Italian arias and one number from Dvorak's Rusalka (which was originally on Bayrakdarian's list). She gave a stunning performance of Elvira's big Act I number from Verdi's Ernani, making the many treacherous corners of this showpiece sound like the most elegant fun. I found myself scrambling to adjust my obviously limited idea of what she can do well. The Rusalka excerpt (Song to the Moon) and the famous aria from Catalani's La Wally were sublime in a different way, so beautifully clear in sound and intention. Pieczonka is one of those singers whose invocation of the ideal values of her art somehow makes you feel like a better person, for participating even vicariously in that appeal." (The Globe and Mail, June 11, 2007) Pieczonka with the Montreal Symphony Orchestra"The nine melodies of the Poèmes pour Mi are written for a great dramatic soprano of which Adrianne Pieczonka assuredly is." (Le Devoir, 25 mai, 2007) "…sung before intermission with captivating beauty by Adrianne Pieczonka." (The Gazette, May 26, 2007) As Elizabetta in Don Carlos at the Gran Teatre del Liceu in Barcelona"Adrianne Pieczonka is an Elisabeth of great quality, capable of youthful ardour, of painful pride, of dignified nobility, and of making one listen to what she is expressing. She seems to sing without effort, with no weaknesses in her interpretation, with a clarity that enunciation does not diminish. So pure that it seems effortless." (Forum Opéra, 5 February 2007) "Vocally Adrianne Pieczonka was the highlight, with a timbre and phrasing of great beauty." (El Periódico, 30 January 2007) "[A voice] of great colour and musicality."
(La Razón, 29 January 2007) A Soaring Arabella at the Vienna State Opera"Adrianne Pieczonka embodies Arabella in flesh and blood with her tireless vocal shimmer and perfect technique. She joins the ranks of the most famous interpreters of this role. The merits of her soprano voice are endless. She alternates effortlessly from lyric sensitivity to dramatic outbursts and her exceptional musicianship is always evident." (Opernglas, January 2007) Pieczonka's voice soared… Her face reflected the moment - a mirror of love, tenderness, puzzlement." (International Herald Tribune, 10 December 2006) "Das sängerische Ereignis der Aufführung ist jedoch Adrianne Pieczonka in der Titelrolle. Wie sie ihren entspannt strömenden Sopran nahtlos aus der satten Mittellage in die Höhe führt und aufblühen lässt, wie sie Wärme, Zartheit und Intensität in subtilen Klangschattierungen mischt, wie sie schliesslich den Text artikuliert, das alles weist sie als ideale Strauss-Sängerin aus und wird getragen von einer ebenso konzentrierten wie natürlichen Darstellung, der allerdings mädchenhafte Koketterie fernliegt." (Neue Zürcher Zeitung, 13 December 2006) Adrianne Pieczonka "mesmerizes" in recital"The soprano has an uncanny ear for turning a musical phrase. Ending the official portion of the recital with Richard Strauss's soaring Zueignung (Dedication) was an inspired move, sending the audience into a riot of rapturous applause that had the singer back on stage several more times. It takes a special artist to step outside formal opera to tell a compelling story without the aid of a formal character. Pieczonka is one of those people. We can only hope she'll be back with more soon." (Toronto Star, 14 October 2006) "It was a performance as musically interesting and vocally polished as anything I have heard in years. Many singers with voices suited to heavier opera are not naturally recitalists, the demands of the two being rather different. Pieczonka, however, clearly understands the highly varied world of the song recital and has the musical intelligence needed for recital singing. ... Pieczonka was nothing short of brilliant in her portrayal of all the moods of the songs she chose." (Calgary Herald, 7 October 2006) Adrianne Pieczonka confirms her repute as the "Sieglinde of our time" in Die Walküre in the COC's landmark Ring Cycle"...drop-dead fabulous performance as Sieglinde." (Globe and Mail, 19 September 2006) "Last month, in the new production of the "Ring" at the Bayreuth Festival, I was impressed by the Canadian soprano Adrianne Pieczonka's vocally exquisite Sieglinde, and she was just as fine in that role here, singing with lushly beautiful sound and poignant vulnerability." (New York Times, 19 September 2006) "There was one heart-rending hour in the entire cycle that everyone present will remember for the rest of his or her lives. It was a magical meeting of singers, music and drama that was more powerful than anything I have ever witnessed onstage...with the once-in-a-lifetime vocal and dramatic power of Toronto soprano Adrianne Pieczonka and American tenor Clifton Forbis...many audience members were left in tears, and most found it impossible to rise from their seats at the first intermission." (Toronto Star, 18 September 2006) "As Sieglinde, Adrianne Pieczonka was [Forbis's] splendid match; their scenes together were outstanding, with knock-'em-dead singing and dramatic conviction." (Musical America, 18 September 2006) "The heart and star of the COC's production was soprano Adrianne Pieczonka (Sieglinde), who fused an astonishing torrent of beautiful singing with a characterization that was almost painfully true." (Globe and Mail, 14 September 2006) Adrianne Pieczonka Triumphs in Bayreuth"The Sieglinde of our time…a shooting star of international Wagner and Strauss renown. Pieczonka glitters with a lyrically expressive, well nuanced soprano, appearing effortless even in top range, always with clearest articulation." (Die Zeit, 29 July 2006) "Adrianne Pieczonka made a gorgeous, lyrical Sieglinde, with an uncommonly beautiful, forthright sound." (Musical America, 28 August 2006) "A vocalist such as Adrianne Pieczonka, the Sieglinde, unfolds her soprano to reveal stunning luminosity. Her voice can exalt." (Die Presse, 29 July) "Winner of the evening among the strong women was certainly Adrianne Pieczonka as Sieglinde, whose pearly clear and forceful soprano serves up ideal tones of purest love for Siegmund. Which altogether justified the strong applause and many bravos." (Der Spiegel, 28 July) "The vocal highlight is Adrianne Pieczonka's radiantly sung Sieglinde…" (Guardian, 29 July 2006) "The great and well-earned vocal triumph was that of the Sieglinde, Adrianne Pieczonka, with an exceptional and powerful timbre and, blessedly, an exemplary delivery" (La Razon, 1 August) "A genuinely lyrical Sieglinde, whose soprano can expand to bloom gloriously. From the most finely spun conversational tone to an all-conquering flowing dramatic volume she has all at her command. Ovations. A triumph." (Münchner Merkur, 29 July) Adrianne Pieczonka returns to the LA Opera as the Countess in Le Nozze di Figaro"Adrianne Pieczonka was a grand and moving Countess." (Los Angeles Times, 27 March 2006) "She once again, as with the Marschallin in Der Rosenkavalier, carried off her assignment with vocal grace and charm personified as the beauteous wife of a philandering husband. Total transformation." (CityBeat, 6 April 2006) A rare performance of Das Paradies und die Peri with the American Symphony Orchestra at Avery Fisher Hall in New York"Adrianne Pieczonka took the juicy title role, ending with great soaring outbursts that held their own above the chorus at the grand finale...her courage and expansiveness ended up carrying the day." (New York Times, 31 January 2006) A Triumphant Ariadne at the Vienna Staatsoper"Adrianne Pieczonka is an attractive Ariadne with bright, ringing tones which she controls perfectly. She also possesses a beautiful cool timbre and wonderful spinning high notes. She portrayed a princess of very noble bearing who showed a many facetted personality. Her famous monologue was a highlight of the evening." (Die Kronen Zeitung, November 2005) "In her debut as Ariadne, Adrianne Pieczonka
displayed a mix of noble dramatic restraint and musical intensity."
(Der Standard, 24 November 2005) Adrianne Pieczonka is a regal Marschallin in Der Rosenkavalier at the Los Angles Opera"Adrianne Pieczonka's Marschallin ruled the stage. At once regal and touchingly vulnerable, she visibly aged during Act I; her finely nuanced performance represented in absorbing detail the growth of a woman from infatuated youth to a middle age haunted by the passage of time." (Opera News, August 2005) "Pieczonka's Marschallin is regal, unsentimental and smart, and when her vulnerabilities break through as she reflects on her situation, they are all the more touching. Her soprano is brushed steel, burnished yet not hard" (LA Times, 31 May 2005) "The rich-voiced soprano Adrianne Pieczonka played the Marschallin with the requisite noble bearing and fragile grace. More uncommon, though, was the sexual hunger and emotional vulnerability she revealed during the frolicking love scenes with Count Octavian…"(New York Times, 31 May 2005) Adrianne Pieczonka's amazing in Die Walküre at the Metropolitan Opera"So complete was Pieczonka's success that, had Richard Wagner been at the performance on October 9, he may well have been tempted to rename his Die Walküre as Der Triumph von Sieglinde. Pieczonka is arguably the Sieglinde of our day. And on this occasion-with her expressive lyricism, unforced beauty of tone, exemplary diction and compelling acting - she cleary left most of her Met colleagues in the dust. A tall, handsome figure on stage, she also brought an understated glamor to the role that one rarely encounters." (Opera Canada, Volume XLV, Winter 2004) "It was heartening to see the ovations for Adrianne Pieczonka, whose Sieglinde was a triumph… Ms. Pieczonka, who made news in her Met debut last spring as Lisa in Tchaikovsky's Pique Dame, has a gorgeous instrument with the ability to soar, such as in the thrilling scene in Act II when she is given the shards of Siegmund's sword, and pleads for death. But she can also shape and mould the tiniest pianissimos, and has the ability to project a haunting vulnerability. If you have not experienced her singing, try to catch her at your earliest opportunity. (Highly recommended: her Alice Ford in Verdi's Falstaff, with Bryn Terfel heading an outstanding cast, with the Berlin Philharmonic conducted by Claudio Abbado.)" (Seen & Heard, October 2004) A Hugely Successful and Long-Awaited Return to the Canadian Opera Company as Sieglinde in Die Walküre"Adrianne Pieczonka, an absolutely riveting Sieglinde, rapturous to the point of delirium, effortlessly met Wagner's demands while preserving a richness of voice and beauty of phrasing." (Opera News, July 2004) "Dominating things were the Sieglinde of Adrianne Pieczonka and the Siegmund of Clifton Forbis. The Canadian soprano, returning to the COC after a long absence, sang with rich, gleaming lyricism and phrased everything with intelligent intensity; already she has few equals in this role today. Responding to Egoyan's detailed direction, she conveyed an almost feral presence in which every expression counted." (Opera, June 2004) "Soprano Adrianne Pieczonka made a sensational Sieglinde. This young Canadian, who hasn't sung at the COC for 10 long years, displayed a beautiful sound, intelligent phrasing and the dramatic ability to depict the character's desperate, barely sane isolation. She made Sieglinde sympathetic and also a bit scary, which is what she should be." (Globe and Mail, April 6, 2004) "Adrianne Pieczonka gives us a youthful, touching Sieglinde. Pieczonka sang with superb connection to the text -- indeed, the naturalness of Pieczonka's delivery of music and words, and her rich palette of dynamics and colours, made it hard to believe that this is her first performance of the role." (Tamara Bernstein, National Post, April 6, 2004) "Vocally and dramatically, Adrianne Pieczonka raised the bar in the role of Sieglinde. Her phrases soared and shone. She projected feeling and character in a portrayal that was simply without equal." (Hamilton Spectator, April 6, 2004) "Adrianne Pieczonka sings with strength and presence." (New York Times, April 9, 2004) Adrianne Pieczonka's Stunning Met Debut in Queen of Spades"Her liquid dramatic Soprano is a delight. Her phrasing is superb and she has wonderful and secure high notes. The audience reacted to her with enthusiasm." (ConcertoNet, March 4, 2004) "As the hapless Lisa, Pieczonka is everything they say she is ["effortless silvery tone," "shining lyric voice," "a lovely presence," "exquisite musicality"]. She makes this appealingly fragile character all the more heartbreaking by emphasizing her impulsive nature, at first an ecstatic love-drunk girl ready for anything and later a desperately doomed woman who loses it all, including her life. This she does with a voice that gains additional expression and color as the portrait deepens, a smoothly textured, fully integrated lyric soprano of ample size and flexibility." (New York Magazine, March 15, 2004) "As Lisa, Adrianne Pieczonka made a fresh, strong impression, singing the lovely Why am I weeping? with real passion." (Seen & Heard, Febraury 24, 2004) As Marschallin in the Salzburg Festival's Der Rosenkavalier"Adrianne Pieczonka's Marschallin fitted into the production's early-20th-century milieu elegantly and sang with firm, warm tone and a respect for the words." (Financial Times, August 11, 2004) "Beautiful, noble, vocally radiant, Adrianne Pieczonka's Marschallin is of great distinction." (Le Monde, August 9, 2004) A superb Elisabetta in the Salzburg Festival's Don Carlo"She has a lovely instrument, and, as this young, mistreated queen, proved a lovely presence…this was a lovely Elisabetta, a cut above most." (New York Sun, August 21, 2003) Adrianne Pieczonka with the London Philharmonia in Strauss's Four Last Songs"She gave a truly heartfelt performance, with a tone that could bloom into radiance or shrink to a whisper." (London Daily Telegraph, April 3, 2003) "The impressive Canadian soprano Adrianne Pieczonka ... has a remarkable ability to project every flicker of meaning in the text." (Guardian, April 3, 2003) In the title role of Ariadne auf Naxos in Barcelona"Triumphant Adrianne Pieczonka…expressive and exquisite musicality." (El Pais, October 21, 2002) "Adrienne Pieczonka … with her warm dramatic soprano, strong and healthy all along the staff." (Opera News, February 2003) "Wonderful, the Ariadne of Adrianne Pieczonka, who, like a Schwarzkopf, or even more, a Della Casa, possesses the exact colour for the score, with a luminosity in the delivery and a purity of piani which would make her, very probably, a superb Arabella, a role which today has no real champion." (Opéra international, Jan. 2003) In recital in Munich"The Canadian soprano Adrianne possesses one of the most marvellous voices of our time. When she lets her voice blossom in the high middle range with an effortless silvery tone, it is as if Lotte Lehmann is standing before us again. She possesses a Strauss voice sui generis! (Anton Sergl, Süddeutsche Zeitung, August 2 2002) Four Last Songs at the International Joy of Singing Festival"Pieczonka's [voice] was big, rich, creamy and most importantly of all, capable of infusing Strauss's characteristically long phrases with pure columns of tone. … Her approach to the songs tended to be vocally and emotionally direct…the sheer beauty of her singing was not to be denied." (Toronto Star, June 6, 2002) Acclaimed in Hamburg"A star was born-Hamburgians can be proud to have witnessed this evening! ... Vocally and dramatically outstanding as Katja." (Hamburger Abendblatt, April 9, 2002) "It is her (Pieczonka's) evening! She doesn't just play Katja, she is Katja. Her shining lyric voice moves you as much as her acting." (Hamburger Morgenpost, April 9, 2002)genpost, "This Katja is no defenseless little soul -- Adrianne Pieczonka's vocally and dramatically marvellous performance leaves no doubt about that." (Frankfurter Allgemeine Zeitung, April 9, 2002) click here for the full article Adrianne Pieczonka makes her debut as Donna Anna at the Royal Opera House, Covent Garden"Canadian Adrianne Pieczonka portrayed a noble and faithful Anna,
with a richness of timbre that was perfect in Or sai chi l'onore
and Non mi dir." "Adrianne Pieczonka is a Donna Anna of subtle timbre...which brings a new emotional fragility to the character" (Giornale della Musica, 24/01/2002) "Adrianne Pieczonka, Melanie Diener and Rebecca Evans are a golden voiced trio as Donna Anna, Donna Elvira and Zerlina" (Musical America, 24/01/2002)
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