Iwona Sobotka has received great critical acclaim for her role debut at the Silesian Opera, where she stars as Magda in Puccini’s La Rondine. “The luminously radiant soprano Iwona Sobotka as the lonely love-seeking living lady “Magda” captivates the audience with its crystal-clear top notes and incredible crescendos in the famous “Doretta” aria in the first act. This stunning performer
“Iwona Sobotka’s recitative and aria as Seraph travelled with ease between truly hochdramatisch delivery and greater intimacy: operatic, then, in the best sense. Her coloratura glittered yet never for its own sake, put to excellent musico-dramatic use.” – Mark Berry, Seen and Heard International “Sobotka’s portrayal of the Seraph’s divine presence was clad in exquisite vocal guise, encompassing the full
Iwona Sobotka has received great critical acclaim for her return concert at the Barbican with London Symphony Orchestra and Sir Simon Rattle, where she stars in Berg’s Lulu and Beethoven 9th Symphony. The apotheosis was reached in Iwona Sobotka’s singing of that central Lied; with a strong, glowing upper register, the Polish soprano encapsulated the soundworld of Berg’s anti-heroine. Sobotka
The Dresden Philharmonic is set to open its season with a unique program led by its new chief conductor and artistic director Marek Janowski. The program will include The Four Sacred Songs by Verdi and Luigi Dallapicola’s “Canti di prigionia.” The concert will include the MDR Radio Choir and soloist Iwona Sobotka. Sobotka is a well-known soprano who won the
Iwona’s Sobotka debut at the Perth Festival in Barie Kosky’s aclaimed production of The Magic Flute has been praised widely in the media. “The woman Tamino falls desperately in love with is Pamina, sung beautifully by Soprano Iwona Sobotka on opening night. She played the heroine-in-need-of-rescue to perfection, but despite the sexism spouted by some characters, Pamina showed courage, determination
Iwona Sobotka was the star of the evening, her full, luscious soprano a treat to hear: her heartrending “Ach, ich fühl's” was one of the highlights of the evening.
All the singers were great and apparently enjoyed the playfulness of the staging - and in the same tame were completely serious about their vocal production. In this evenly very good cast, Iwona Sobotka still stood out: she got a well-deserved ovation at the end of the show.
Iwona Sobotka in the role of Pamina sang surprisingly powerfully, and it was certainly a good contribution to this character.
Iwona Sobotka as Pamina presented perfect technique paired with natural playfulness. Just as Papageno, she was also able to feel the intention of the stage director. Not only her vocal production was impressive, but also with her stage presence and acting. She was able to paraphrase the star of silent cinema, Claudette Colbert.
It is a fantastically composed duet, and is fantastically sung by Andrzej Lampert and Iwona Sobotka, he has in himself - and in this creation - a lot of grace, perfect for an bohemian role. She is modest, delicate but strong. But after a while both of them shows that they possess powerfull voices.
Iwona Sobotka, who made her debut as Mimi, has build up a moving artistic creation. Among the Polish soprano I had the pleasure to listen to in this role, Sobotka is definitely the best. She delighted with her warm, flexible voice showing with great ease the emotions of its character, moving in the IV act the audience to tears.
La soprano polaca Iwona Sobotka supo ensamblar su voz con el timbre de la orquesta como un instrumento más. Su canto destacaba sobre la belleza del conjunto como la luna en un cielo estrellado. Y aun sin conocer el idioma, a los asistentes al concierto nos llegó el mensaje traducido a música de un profundo pesar.
Szeherezada Ravela w interpretacji Iwony Sobotki wypadła oszałamiająco pięknie. Zbyt rzadko wykonuje się na koncertach ten wczesny utwór, a przecież wyobraźnia kolorystyczna kompozytora jest już tutaj w pełni rozwinięta. Trzy części – Azjo, Azjo, Zaczarowany flet i Obojętny, kontrastują pod względem nastroju, temp i tematyki. Łączy je jednak specyficzny orientalny klimat, wynikający ze stosowania przez kompozytora skali pentatonicznej i całotonowej. Subtelny śpiew Sobotki znakomicie współgrał z arcybarwną grą NOSPRu i interpretacją Liebreicha.
Special recognition goes to Iwona Sobotka in the role of Pamina, stylized for Louise Brooks star of the silent movie. Pamina's complaint, convinced by the betrayal of her lover (Joel Prieto) and trying to commit suicide, performed by Sobotka sounded as touching as if it were Franz Schubert's song from "Winterreise" cycle of loneliness, madness and death.
When Iwona Sobotka extracted nobility in the notes assigned to Paminia, she dominated the performance.
Más allá de un magnífico manejo de las atmósferas camerísticas y un sólido empaste, aquí el despliegue de técnica y aguda sensibilidad de Sobotka sería lo más ovacionado de la tarde. Un agudo luminoso que llenó la sala desde la primera de las canciones “La luna solitaria”, precedió a “El ruiseñor” y “La danza” donde hizo gala de un instrumento de poderosa proyección y belleza tímbrica.
Iwona Sobotka destacó sobre todo por su control del carácter suspirante y de sula belleza del trabajo dinámico. Estuvo, simplemente, soberbia.
Iwona Sobotka, impressed in the role of the slave Liù with her warm, flexible voice that moved in the third act as dying the audience to tears. It was clear: What is celebrated here is one of the rare pleasures.
The most beautiful voice of the evening is the one of Liù by Iwona Sobotka. Her quiet emphasis of the lyric is just touching, her delicate vibrato and her floating Piani testify of the devotional love of a slave to her Lord.
Iwona Sobotka, gebürtig aus Polen, war eine anrührende und stimmschöne Sklavin Liu.
Und dann wäre da noch besagte Iwona Sobotka, die mit der Arie "Ah core mio" aus der Händel-Oper "Alcina" diesem Abend zweifellos das Glanzlicht aufsetzte. Mit einer Stimme, so mühelos, so strahlend, so perlend leicht in den Höhen und doch auch so innig im Ausdruck, mit der sie diese Abschiedsarie gestaltete, dass man sich allen Ernstes fragt, warum man diesen Namen nicht öfters hört und liest.
This soprano! Iwona Sobotka, stepped in at short notice, had no trouble to exhaust Verdi's soprano's abundant attributed drama with pleasure in composing and yet far from all operatic attitude. At the same time she gives its intimacy color and warmth, forms a brilliant crescendo, makes her voice shine in the fortissimo passages over each and everything - this is first class!
Но певица удивила еще раз – вечером, когда исполнила знаменитое произведение Рихарда Штрауса с таким мастерством, таким вдохновением, что зал сначала онемел, а потом разразился оглушительными овациями и криками «Браво!». Стало ясно, что в Воронеж заглянула звезда мирового уровня. Ивона Соботка и в самом деле – одно из самых известных сопрано на планете. Певица владеет филигранным мастерством, у нее теплый полетный голос, безупречно сглаженные регистры. И она – подлинный художник, соавтор композиторов и поэтов, создававших произведения в разные годы.
Überwältigend in der Titelpartie Iwona Sobotka, ein Sopran absoluter Weltklasse mit berückendem Timbre, lupenreiner Höhe und lyrisch-dramatischer Ausdrucksfülle
Polish soprano Iwona Sobotka stole the show as Vespina. Her gorgeous, flawless and versatile voice and stage presence made for an effortless performance. She's got a huge, blinding, solid middle voice that flips into the most delicate and elegant coloratura, wholly light and tranquil, never forced. Her first act aria "Come piglia si bene la mira" was so natural and unaffected, and she sliped into a pure workspace that the other soloists couldn't even touch. Her recitative was weightless and airy. She easily morphed into her six separate characters and owned each one individually without ever a sense of overbearing.
Sobotka is relatively young but she is perfectly at ease negotiating the composer’s tricky turns of phrase and intonation. Her pure, clean tones elide the trills and melisma with elegant grace. When she sings lines like “mi go zal” (ist mir so leid) , unaccompanied and alone, she breathes an earthy personality into the words, enhancing their meaning, even if you don’t understand a word of Polish. She has recorded the complete Szymanowski songs with the superlative young tenor, Piotr Beczala and others, so she, too, has a claim to being immersed in the composer’s idiom. Indeed, in the second song, Slowik (Nightingale), she creates a truly mysterious atmosphere, turning the elaborate vocalise into an almost abstract meditation.
A sumptuous voice, a poetic and passionate singer. (…) Thanks to a stunning maturity in her approach of the texts and a very accomplished technique that allows her to reach the finest nuances. (…) However this artist, who seems destined for the lyrical stage possesses also the profoundness and thought that make her a lied singer both sensitive and engaging. (…) Her voice is of metal both pure and concentrated. She showed her strong vocal stability that predict a beautiful career ahead. She has a theatrical sense and draws the personalities of her characters with vigour and generosity.
Un palmares qui fait le pari de l´avenir.
La voix d´Iwona, un reve.
Ça ne s'invente pas: en polonais, Sobotka signifie... petit samedi. Pour Iwona Sobotka, toutefois, le 15 mai d n'aura rien eu d'un petit samedi: c'est au contraire un grand jour même si, rencontrée le lendemain, la soprano polonaise n'avait absolument pas attrapé la grosse tête.
