Upcoming Event

Interview with Małgorzata Walewska

Opera Night with Polish Diva Małgorzata Walewska

Following successful performances of two Polish superstars, Ewa Podleś and Mariusz Kwiecień, the Seattle Opera introduced this season Małgorzata Walewska, a fine singing actress with a stunning mezzo-soprano. She appeared in Bela Bartók’s opera Bluebeard’s Castle as Judith, and her performance has received enthusiastic reviews. A group of Polish Studies supporters and opera aficionados had a pleasure to hear Ms. Walewska and meet her at a private reception.

Ewa Poraj-Kuczewska – The audience as well as critics have left the opera house delighted with Bluebeard’s production and your performance. What did the role of Judith – a woman who wants to know more – mean to you?

Małgorzata Walewska – This role is an amazing opportunity for an actor. It is not my first Judith – 10 years ago I played this role at the National Opera in Warsaw in a production by Janusz Kijowski who had a very interesting way of telling the Duke Bluebeard’s story. The opera begins with Judith’s praying on the Bluebeard’s grave. Suddenly his voice appears from somewhere and it is a little bit like a meeting with a ghost. To show the two separated worlds which Duke and Judith belong to, the Warsaw director took advantage of a revolving stage, placing Bluebeard inside and Judith outside. She opens seven secret doors which look like ice rocks covered with silk curtains – the last one leads to Bluebeard’s world, which for Judith is a symbolic land of the dead. It has a double meaning: when you reveal all of life’s mysteries and know answers to all questions, you have already found yourself on the other side. Remembering the Warsaw staging, I was wondering what the Seattle production will be like. And I found it absolutely fabulous, especially magical interplay of light and color.

EPK - You became famous as the untamed Carmen, with – as they say – an exceptionally erotic voice.

MW - I am a kind of retired Carmen. For how long I can be this heroine who is in her twenties..? But it is probably true that Carmen is more about a personality than age. I like this role. It has been growing, maturing with me… There is always something else what I can do with this character. Among ten different Carmen I performed in, my favorite one was a very modern Wrocław 2005 production (costumes like from Matrix), focused on acting more than is usual.

EPK - We are so happy to see you performing in Seattle. Soon another Polish artist will be back here - Mariusz Kwiecień whom you know well...

MW - Mariusz Kwiecień is my dear friend, we studied in a music school together. When Mariusz left Poland for the US, he constantly called me, saying ‘Walewska, you have to come here, Americans will love you’. I have trusted him but you have to have a lot of guts and determination to get to America. Meanwhile I had been quite busy in Europe. But when I was performing in Toronto, I thought one day ‘here is a moment to go to NY, to a Metropolitan audition’. I did it and two weeks later I got a contract.... And what a coincidence – I have been noticed there in Samson et Delila by the Seattle Opera director, Speight Jenkins. However, I am not sure he would have hired me if it were not for the fact that Mariusz Kwiecień reminded him about me; Speight Jenkins evidently takes Mariusz’s opinions seriously.

EPK - I have a feeling that more and more Polish names have succeeded in European and American opera houses. Especially at the Metropolitan Opera...

MW - That’s true. The best example is a last production of Lucia di Lammermoor with Piotr Beczała (tenor) and Mariusz Kwiecień (baritone). They have had established careers but what a spectacular success! It is interesting: they both left Poland relatively young, fortunately found right agents and music circles, and everything worked perfectly. There is another Polish singer who recently made a fascinating debut at the Met, soprano Aleksandra Kurzak. She also staked everything on one card, left Poland for Hamburg from where she moved into the world. And one more name: Andrzej Dober who established his career in Italy where he is considered as a Verdi baritone – it is hard to imagine a greater compliment. I have to say that I am one of a few Polish singers who became known abroad, but who still live in Poland. I have never had such a desire to stake everything on one card and always wanted to stay in Poland where I have my family, my mother and where I feel happiest. Actually, the world is becoming smaller and more open – my Polish home is pretty close to the airport – and maybe it is not so important anymore where someone lives.

EPK - Do you have a favorite opera house, a place where you especially like to perform?

MW - I always love to return to Warsaw, to the Polish National Opera. I have there my audience, my parking space, it is my place. I admire the productions of Mariusz Treliński who runs this opera house, for example, his new The Queen of Spades or the famous Madama Butterfly, which Placido Domingo brought to Washington. I do not feel particular desire to perform in the greatest opera houses. The Metropolitan Opera or La Scala give an artist recognition and prestige but also an extreme dose of stress. When I am on a stage, I like to enjoy singing, but in the big houses you are constantly judged and feel like you are being examined through a magnifying glass. I am glad that I performed at the Met and will soon sing in Covent Garden because it looks good on a resume, but for me those are not the greatest experiences.

EPK - Apparently, you chose opera not only for the music. Did you find what you were looking for?

MW - I consider myself mostly an actress. Since my two passions are acting and singing, and an opera is perfect blend of them, I have found there everything that I need. I am completely fulfilled in it, and even though I sometimes sing other kinds of music, I am conviced that opera is my destiny.

EPK - What are your plans for coming months? Where will you be performing?

MW - Soon another Carmen in Warsaw. Then Il trovatore in London Covent Garden, it is very important, so please cross your fingers. After that Aida in Athens, Il trovatore in San Francisco, Carmen in Cracow…

EPK - Are you planning to come back to Seattle?

MW - Yes, and I am looking forward to it, since you have here such a great acoustics, a wonderful audience and a lovely Polish community. In January 2010, I will sing Azucena in Il Trovatore. A year later – I hope it can be disclosed – I will return as Dulcynea in Don Quichotte, and Don Quichotte will be played by John Relyea, my partner from Bluebeard’s Castle and the fabulous artist.