Marta Wryk Mezzosoprano Mozart Non temer amato bene
Aankomende voorstellingen Vandaag tot 2024
Prestaties uit het verleden 2012 — 2023
Mothers. Lovers. Revolutionists., Various
Theater der Stadt SchweinfurtMezzosoprano
Bekijk cast en crewParsifal, Wagner, Richard
Theater BielefeldKlingsors Zaubermädchen 3Stimme aus der Höhe
Bekijk cast en crewMarta Wryk, Tomasz Prasqual i Anna Kowalczyk, Various
Mezzo-soprano (Mezzosopraan)
Bekijk cast en crewMothers. Lovers. Revolutionists., Various
Theater der Stadt SchweinfurtMezzosoprano
Bekijk cast en crewMarta Wryk, Tomasz Prasqual i Anna Kowalczyk, Various
Mezzo-soprano (Mezzosopraan)
Bekijk cast en crewDoktor Bartolos Geheimnis oder In Sevilla sind die Mäuse los, Rossini
Theater BielefeldRosina
Bekijk cast en crewma.15:00
Bielefeld, Duitslandvr.19:30
Bielefeld, DuitslandThe Convert, Henderickx
Theater BielefeldLutgardisFake MessiahFirst Desert WomanInnkeeper
Bekijk cast en crewza.19:30
Bielefeld, Duitslandwo.19:30
Bielefeld, DuitslandDoktor Bartolos Geheimnis oder In Sevilla sind die Mäuse los, Rossini
Theater BielefeldRosina
Bekijk cast en crewvr.19:30
Bielefeld, DuitslandThe Convert, Henderickx
Theater BielefeldLutgardisFake MessiahFirst Desert WomanInnkeeper
Bekijk cast en crewzo.15:00
Bielefeld, DuitslandAfter her successful American debut as Aglaonice in Philip Glass' Orphée at the Virginia Opera, young Polish mezzo-soprano Marta Wryk came to the attention of European audiences and the press when she stepped in the role of Smeton in Anna Bolena at Oper Köln. Critics praised her for having “the most promising voice with spectacular high notes” (ResMusica) and for her “remarkable Italianitá” (Der nueu Merker). While still a member of the Oper Köln Opera Studio, she was featured in several leading roles, including Cherubino in Le Nozze di Figaro, Hänsel in Hänsel und Gretel, Oberto in Alcina and Gianetta in L’elisir d’Amore . She then joined the ensemble of Oper Köln and performed, among others, the role of Mercédès in Carmen, Second Lady in The Magic Flute and Laura in Tschaikovsky’s Jolant