Aleksandra Olczyk is a Polish opera singer (soprano). A graduate of of the Academy of Music in Bydgoszcz (singing class of Magdalena Krzyńska ). ). The Winner of the 2020 Coryphaeus of Polish Music in the category of discovery of the year for “special quality of vocal creation and dynamics of development of the path of the path”.
In 2022, she made her debut at the Metropolitan Opera in New York with the role of the Queen of the Night In in the Mozart’s The Magic Flute. The soprano has already sung the role of the Queen of the Night on many prestigious stages around the world, including the Royal Opera House, Semperoper Dresden, Deutsche Oper Berlin, Komische Oper Berlin, Volksoper Wien and Teatro Real. She also often performs this role in Polish theatres: Teatr Wielki – Polish National Opera, Polish Royal Opera and Opera Nova in Bydgoszcz.
Polish soprano Aleksandra Olczyk, who portrayed The Queen of the Night, was another revelation […], she has an unusually dark and big voice which is not common in such a stratospheric role. When she began the slow part of her first aria “O zittre nicht,” which is very central, she sounded like a pure lyric soprano with a velvet quality and fair vibrato. Her voice grew as she rose up with the two A flats sounding particularly round and full. I found myself wondering how she would managed to sing the Allegro part of the aria with all the coloratura and high notes. However, her coloratura was clean and impeccable and her voice kept growing in size and projection while reaching the several high Ds and Cs. She also managed to hold the high F a few seconds rather than the usual staccato short note that most sopranos do. Her interpretation of “Der hölle rache” sounded vengeful and menacing thanks to the qualities of her voice. She managed to sing the staccato high Cs with an unusual force and power and really matched the intentions of the character. All the high Fs were perfectly in pitch and rhythm, keeping all the staccato sections completely balanced in volume and metric. She was exceptional in the staging as she had to sing the arias with her whole body covered by a plank over which a projection of her spider body was shown. Only her head was visible, so she had to sing completely still with her arms close to her body. That’s a very hard task to manage, especially when singing so many coloratura and stratospheric high notes. She was obviously one of the most applauded singers of the night, and she deserved it.
Mauricio Villa , Opera Wire
The artist also performs the role of Gilda in Verdi’s “Rigoletto” and Sophie in Strauss’s “Der Rosenkavalier”. The young singer’s career has suffered significantly due to the coronavirus pandemic, with her performances in Verdi’s “La Traviata”, Rossini’s “Illustration a Reims”, Donizetti’s “Lucia di Lammermoor” lost, and her debut at the Met, originally planned for mid-2021, was been postponed until the end of 2022.
In 2022, the Polish audience had several more opportunities admire Aleksandra Olczyk’s talent. The soprano returned to the role of the Queen of the Night at the Teatr Wielki – Polish National Opera and the Polish Royal Opera, and also made her debut as Leïla in Bizet’s “The Pearl Fishers” at the Wrocław Opera. Warsaw’s admirers of the soprano had the opportunity to hear her in April, when the National Philharmonic presented Carl Orff’s oratorio “Carmina Burana”.
