Urszula Piwnicka

SOPRANO

www.ubpconsulting.pl

"In the haunted Bytom"

(...) "A tangible element of the implementation is Urszula Piwnicka, coping well with the role of Christine and in parallel presenting very good vocal skills. It's not enough for the" Phantom "to make a real musical event." (...)

Anna Leksy "Dziennik Teatralny Katowice, 10th of March 2011

"The Phantom is not scary"

(...) "The show has been prepared with considerable momentum. Uses an interesting special effects, and among them were even at the famous falling chandelier in a dramatic moment. This scene was certainly not easy to accomplish, and falls very attractive. Also on the sets and costumes devoted considerable resources. Frequent changes of action, staging scenes several times "theater within theater" (actually "Opera at the Opera") will certainly impress the audience. Here, unfortunately, comes to us to depart from the strengths of the show and go to those that present a less impressive. The show has been prepared with a pre-planned dose of humor and distance to the form of opera. Unfortunately, however, it happens that the audience comes to laugh at times rather unintended by the actors. Erik the phantom talks with the director of the opera, which should exacerbate the growing tension, in fact verge on tragedy, but in a slightly different sense. The whole rescue comes from the charming Urszula Piwnicka, who plays the main role, and gifted with comedic talent, known to the public Deson Bogdan. However, to the whole performance be considered successful, there is a need for more extensive work on acting of other artists.” (...)

Agnieszka Burek, Dziennik Teatralny Katowice, 5th of March 2011

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"Phantom of the Opera"dir. Daniel Kustosik in the Silesian Opera in Bytom. Writes Alexander Heron-Oslislo in Gazeta Wyborcza - Katowice, 02-03-2011

(...) The second pillar of the musical - soloists - already present themselves better. But still far to the delight of the main roles. Applause deserves Urszula Piwnicka (premiere of Monday 21 February), who merged in the role of Christine high vocal qualities with subtle acting (...)

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"Phantom" in Opera Śląska

http://tvp.info/teleexpress/wideo/18022011-1700/3909348

Min. 13.57 - 14-23

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The revival of "La Boheme" in  Bytom

(...) The first show of the revival was entrusted to the young singers who joined Silesian Opera or became its solists only recently. It turned out to be an excellent decision because they brought authentic youthfulness to the scene.

(...) Urszula Piwnicka portrayed the delicate, fragile character of Mimi very convincingly and yet very subtly. Her naturally led voice is full, warm and balanced across the entire scale and her vocal creation strikes with simplicity.

Maestro.net.pl, Adam Czopek, November the 9th 2009

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Mimi i Rudolfo podbijają serca melomanów

(…)

There was a lot to admire in this revival. First of all, there was the exceptional Urszula Piwnicka. She used her beautiful soprano to conjure up the part of Mimi the embroiderer. Than there was the excellent and eccentric Musette (Ewelina Szybilska) in her famous waltz. And finally, we could appreciate Adam Sobierajski whose interpretation of Rudolf was simply great.

It goes without saying that the three soloists stole the night in the Silesian Opera. Piwnicka lead her phrases with beautiful lyricism and controlled tension. Her rendition of the love aria with partnering Adam Sobierajski at the end of Act I was simply excellent. (...)

Generally speaking, everything about the show was interesting; it was as nice to watch, as it was to listen to. But the real thrill of excitement comes during the finale, in which Mimi dies exhausted from the sickness.

Maciej Michałowski, Dziennik Teatralny Wrocław, November 23rd 2009

 

http://www.e-teatr.pl/pl/artykuly/82000.html

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http://www.mojbytom.pl/p,s,200120,o,listing_informacji,id_kat,378054,id_informacji,449381.html

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http://www.zyciepw.pl/wieden-w-kobylce

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http://um.kobylka.pl/index.php/aktualnosci_kat/Salonowy-Dzien-Edukacji-Narodowej.html

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“Urszula Romaszko (Piwnicka) presented herself very well. She was utterly correct concerning the vocal and simlpy sensational in interpretation. In Micaeli’s aria Je dis que rien ne m `épuovante she very vividly expressed the character’s emotionality. As Butterfly she will surely enchant the audience, just as she did during the concert singing the most famous aria from “Madam Butterfly” Un, del di vedremo. She has a beautiful voice – it carries a hint of the greatest singers: Katia Ricciarelli and Mirella Freni – although it is brighter than Frania’s and occasionally sharper –just as a diamond…” (Konstancja "Świat Opery")

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„The party reflected the wealth of cultural life. Among others we saw Mrs. Maria Foltyn and talked with her, and she said that her international vocal competitions (held every two years) always emerge a lot of new talents - not only Polish, but also Russian. Hence the apparent respect and sympathy which always surroundes Mrs. Mary on Russian parties.
She was accompanied by a young - and beautiful - opera and operetta singer (soprano), Mrs. Urszula Romaszko-Piwnicka. Her repertoire – both opera and operetta - is very rich, and the latter includes almost all the popular operettas – from “The Merry Widow" to "Victoria and Her Hussar". Both the present and the future seems to smile at Mrs. Urszula, owing to the fact that she smiles back...at life” (Zygmunt Broniarek "Plotki płotki i GRUBE RYBY" rok X)

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http://www.lwow.com.pl/gazeta-lwowska/festiwal-galicja/kiepura.html

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“During the first evening named "Ninon, let me see you smile" held under the patronage of the cooperative banking group, on the shell-shape concert stage appeared three handsome tenors: Dariusz Stachura, Pawel Skałuba and Adam Zdunikowski.
The male part of the public was delighted by the charming soprano and surprisingly numerous outfits of Urszula Piwnicka.
Artists with the accompaniment of the J. Strauss filharmony orchestra form Bydgoszcz under the direction of Marek Czekała performed the greatest opera and operetta pieces, followed by few bright neapolitan songs and some musical hits (...). „Zdrój Ciechociński" Jakub Giza

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Skierniewice. Concert "The charm of the Operetta" author: MEGALOMAN data: 2007-07-23, 14:43 title: After the concert…

The concert was wonderful, a mixture of beautiful music and great artists. Mrs. Urszula Piwnicka is perfect, charming, simply a great singer. Her most exquisite soprano, acting and song interpretaions enabled us to move momentarily to the enchanted world of music, wonderful operetta and musical world. She was partnered by the excellent tenor Krzysztof Marciniak, who also showed his acting and vocal artistry.
I hope that the operetta concerts would become traditional for Skierniewice, and I wish it to all its inhabitants.

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Skierniewice. Concert "The charm of the Operetta" author: Natalia Warecka-Kochan data: 2007-07-23, 17:07 title: Wonderful operetta arias!

Thank you Mr. President for the Sunday concert, on 22 July 2007 in the town hall of our city!!!! What a professional event! How charming! What a unique atmosphere… No slipshod work, treating worse the “provinces”, but pure CULTURE up to scratch! Keep it that way! Uppermost! I ask you to repeat this unique, wonderful project "The charm of the Operetta". Only great hits: the unquestioned king of operettas Johan Strauss along with the immortal Lehar… Exquisite and talented soprano Urszula Piwnicka as well as the handsome tenor Krzysztof Marciniak (unique, delightful and very witty) and the full bar editor John Galuba from Warsaw. Concert rating A! Thank You so much Mr. President… I’m sincerely amazed! Thank You.

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http://www.observatorcultural.ro/Triumf-al-Celliei-Costea-la-Varsovia*id_626-news_details.html

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„The Merry Widow” (mix-mol key)

Artists who usually perform at main stages with dignified repertoire, once in a while step down to more conventional music – as it happened with “The Merry Widow” dir. Andrzej Strzelecki in The Musical Theater “Operetta”, writes Eva Hevelke from New Critic Force.

There is no Operetta in Warsaw, and “Operetta” Theatre is trying to fill these gaps. That explains why sometimes we are shown lighter music on the stage borrowed from The Polish Theatre.

Frenzy in Paris - Maxim, Chat Noir, and a reliable 20-million-worth widow Hanna Galwari (Urszula Piwnicka). The small duchy of Pontenegro stands behind it. The clever baron Mirko Zerta (Krzysztof Tyniec), prince’s agent, decides to find a husband for Hanna in order to prevent the outflow of her money. This role fits like a glove to Count Danilo (Artur Rucinski), an incorrect single. All could happily end as early as the first act, had it not been for the fact that the grace and property of the widow attracts also other competitors.

In addition, the unfaithful baroness Valentine (Gutaj Barbara), loses an extremely interesting note, written by the hand of her admirer Camil (Dariusz Stachura), which will further complicate the situation.

The director, Andrzej Strzelecki, uses simple tools for the work. He simplified the scenery, made reality resemble modern times and slimed the artists. Costumes underline thin waists. Side by side there are satin dresses from the twenties and checkered bombs from the crazy sixties. In addition, however, there are timeless dinner jackets and tails. The scene is surrounded by three rectangles – two at both sides and one in the back. The decoration consists of six young men – butlers, who depending on the needs create a bed, a picnic place, a flowerbed, doors or leaking water – regardless of how strange it seems. In these surroundings work drama actors and opera singers.

Artists who usually perform at main stages with dignified repertoire, once in a while step down to more conventional music. Such surnames with the strength of their voices rise the theatre’s roof. And surely that is just what they are expected to do, and the libretto text translated by Jurandot carries some pieces worth singing. However, Walentyna in the dramatic version mainly rushes in and out of the stage, closely followed by Camil. In the doorway they go past the main pair or other less important characters. Hanna and Danilo sound lovely. It’s a pity, though, that while the waltz is played on the ball, they nervously try to keep up with it, and that’s why their dance seems a little awkward.

Drama actors are run-of-the-mill. Bohdan Łzauka, the trustworthy servant Niegus, uses his fame of a man who sees much and understands even more. He would have even told us a few stories, beginning his song with words “So it was”.

Krzysztof Tyniec as a baron in homeland defense decides to kill all by waving his hands. The movement stage is based on jumps and turnovers (no knee bends) all in an upright, baron-like style. Genteel, chanting voice, but not outrageous. More like a dance-leader than aristocratic.
The picture is completed by beautiful flying feathers and gentlemen singing with light spirit about understanding women toil.

Strzelecki staged this operetta in his style. It is rather funny, a little silly and a little average, but generally pleasant. The outcome is a mix, in which the defence is mainly Lehar’s music. But it is always nice to listen to “Lips are silent, soul is singing”, even if this piece is 101 years old.
I think that grandchildren will find this performance dull and boring, but the granny will bounce (as they say it nowadays).

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