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BIOGRAPHY |
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In 2022 the Polish singer won the 1st Prize at the DA CAPO International Music Competition in Romania. The year before she was awarded the “Premio Speciale del Teatro di Košice” at the 1.st Online Classical Voice Competition SOI Scuola dell’Opera Italiana Fiorenza Cedolins.
Since the season 2020/21 Malgorzata Pawlowska is engaged at the Theatre Plauen/Zwickau. Here she succeeds with such soles as ARIADNE AUF NAXOS and RUSALKA, MANON LESCAUT, AGATHE in “Der Freischütz” and ROSALINDE in "Die Fledermaus” as well as in numerous concerts.
Her upcoming debuts here are the title role of Salome and GIULIETTA in “Les contes d’Hoffman”.
In spring 2023 she was the Cover for GHITA in Zemlinksky’s “The dwarf” at the Ópera de Tenerife and in 2024 she made her debut as SUOR ANGELICA at the Oldenburg State Theatre.
In autumn 2018, immediately after completing her singing studies, the talented 29 years old soprano made her successful debut as TATJANA in Tschaikowsky’s “Eugen Onegin” at the Gran Teatr Wielki Warszawa and as FIORDILIGI in Mozart’s “Cosi fan tutte” at the Jan Kiepura Festival in Krynica-Zdroj. Besides, the Prize winner of the International Singing Contest Viva Calisia (September 2019) was just recently celebrated at the Teatr Druga Strefa Warszawa with a solo aria programme.
Ms Pawlowska studied singing in Warsaw at the Vocal Faculty of the Fryderyk Chopin University of Music in the class of Ryszard Cieśla. Moreover, she attended master classes with Robert Holzer, Andrzej Dobber and Violeta Urmana.
While still studying, the young soprano lirico spinto made her debut as CONTESSA in Mozart's ' Le nozze di Figaro' at the Warsaw Chamber Opera with the Filharmonia Świętokrzyska and as DONNA ANNA in Mozart's 'Don Giovanni' at the Nieborów Opera.
As a concert singer Ms Pawlowska sang the solo part for soprano in Joseph Haydn's 'Nelson Mass', in Mozart's 'Exsultate Jubilate', in Moniuzko's Mass in E-flat-major and in Gorczycki's 'Completorium'.
Malgorzata Pawlowska is Prize winner of the numerous singing competitions: Zinka Milanow Singing Competition in Rijeka (Croatia), Ogólnopolskiego in Krystyny Jamroz, Zlote Glosy in Warsaw, Ada Sari in Nowy Sacz and Viva Calisia in Kalisz (Poland).
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| REVIEWS |
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| Staatstheater Oldenburg - Suor Angelica - ANGELICA |
| Angelica MALGORZATA PAWLOWSKA was shown no mercy by her fellow sisters… the aria in which she longs to die was simply heartrending… It really got under one’s skin. |
| Der neue Merker 06/2024 – Gisa Habitz |
| Staatstheater Oldenburg – Il Trittico – SUOR ANGELICA |
| Malgorzata Pawlowska has a brilliant, versatile voice, with which she succeeds in impressively singing the title part in all its nuances and colors. Her final scene is simply heart-rending. First she takes off her nun’s habit , showing how much she hates the convent’s rules. For her visionary reunion with her son, the Polish soprano can do entirely without any form of pathos or sentimentality – she sings as plain and beautiful as possible. |
| DAS OPERNGLAS 6/2024 J. Gahre |
| „Malgorzata Pawlowska sings the part absolutely convincing and touching. Well- balanced both vocally and as an actress she performs the course of development of a initially hopeful and gradually desperating, suffering woman.” |
| Christof Keller PDF |
| „Malgorzata Pawlowska portrayal of Angelica is very impressive and she also convinces as an actress. Although her voice tends to be a bit sharp in the high registers, she perfectly succeeds in expressing the emotions of the character.” |
Der Opernfreund
deropernfreund.de |
| „In Suor Angelica the 10 person-cast of the nuns is tailored to the protagonist. The guest singer Malgorzata Pawlowska in the role of Angelica is a tailor-made singer-actress, who gradually soars from the immersions of misery at the beginning of the opera, into the deeply hurt, deeply lonesome nun Suor Angelica. Only until the dialogue with the Princess, she defends herself with vocal power and restrained opposition. Yet, the attempt to rebel is in vain. When she hears her child has died at the age of 5, without her being able to see it once again, her resistance, her power, her will to survive in the monastery community breaks. The central aria Senza Mamma, which Pawlowska makes oscillate between vision and reality, is the highlight of the score. Dreamlike! Nightmarisch!” |
IOCO
ioco.de |
| Theater Plauen Zwickau - Der Freischütz - AGATHE |
| „Malgorzata Pawlowska‘s Agathe and Elisabeth Birgmeier’s Ännchen were fitting equivalent counterparts...” |
MDR
mdr.de |
| Theater Plauen – Manon Lescaut - MANON LESCAUT |
| „Malgorzata Pawlowska’s in the role of Manon expresses her love and suffering with an unusual straightforwardness in expression and a brilliant vocal clarity, which turns the performance into something absolutely brilliant.” |
Freie Presse
PDF |
| Theater Plauen - Zwickau - RUSALKA |
| „Malgorzata Pawlowska’s Rusalka impresses by her child-like, female appearance and her beautifully guided soprano voice, especially in the touchingly performed ‚Song to the Moon” |
Opera Online
www.opera-online.com |
| Theater Plauen-Zwickau – Rusalka - RUSALKA |
| "With light touch, Horst Kupich, opera director of the house since the beginning of this season, made his directing debut with Dvorak’s second last opera. He produced the fairy tale story of the mermaid, whose greatest wish it is to become a human being, that results in failing in loving and being loved. Malgorzata Pawlowska in the title role was entirely up to it. She convinced both vocally and dramatically as the teenager fed up with the Waterworld, who dreams about love and the prince, she sighted bathing, to conquer his world.” |
Torsten Kohlschein, Freie Presse, 10.10.22
Torsten
| Theater Plauen-Zwickau – Ariadne auf Naxos - ARIADNE |
| „Not only acoustically this is pretty much interesting, because it actually gives the impression of the insanely difficult parts becoming a little bit easier and more effortless. This may also be due to the excellent basic level and the carefreeness of the ensemble, which is not far off the brilliance of major houses – to start Małgorzata Pawłowska, who portrays Ariadne with exactly such great virtuosity and floating easiness(...)” |
| A. Meixner, Das Opernglas 1/22 |
| Clara Schumann - Sechs Lieder op. 13 - Theater Plauen |
| „This year Masayuki Carvalho composed an orchestral version, which was presented in concert by the soprano Malgorzata Pawlowska and the Chamber Orchestra under the musical direction of Leo Siberski. The soloist knew how to put together several songs into a whole. She sang with a crystal-clear voice, perfectly comprehensible at all times. Besides, she knew how to put highlights in every single song. The way the singer succeeded in getting vivid melodic from the wealth, congenially accompanied by the chamber orchestra, was simply enchanting.” |
Vogtland Anzeiger
(full article) |
| Teatr Druga Stefra Warschau – Like A Diva |
| Pawlowska is zestful and hilarious in the performance. And, indeed, she sings like a diva. |
| Renata Kim – Newsweek |
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