BIOGRAPHY EDUCATION: Violetta Kowal took up singing at the Conservatory of Music in Cracovia with Professor Sonia Lehnert and continued with Professor Maria Vardi, at the same time she studied Geology and Mineralogy at the AGH University of Science and Technology in Cracovia. She compleded her singing education at the Music University in Vienna with Km.Sgr. Margarita Lilova and participated in master classes with Km.Sgr.Ileana Cotrubas and Km.Sgr.Inge Borgh.Her career took off 1996, when she won the third prize in the Ferruccio Tagliavini Competition. OPERATIC DEBUT: She debuted as Blonde in Mozart’s “Die Entführung aus dem Serail” (Abduction from the Seraglio) at the Schoennbrunn Palace Theater in Vienna and as Quinn of the Night in Mozart’s “The Magic Flute” at the Prague State Opera. ENGAGEMENTS: Theatre in St.Gallen in Switzerland, Pfalztheater in Kaiserslautern, Bad Ischl Operetta Festival, Kreuzgangspielen (Cloister Games) Feuchtwangen, St.Margarethen Opera Festival, Gmunden Festival, Festival MozART Praha, Prague State Opera and Vienna Volksoper. CONDUCTORS: Paul Angerer, Rudolf Bibl, Wolfgang Bozic, Francesco Corti, Alfred Eschwé, Richard Hein, Martin Haselböck, Ernst Märzendorfer, Marc Piollet, Kurt Rapf, Alexander Rumpf, Koen Schoots, Jiri Starek, Uwe Theimer, Bohdan Warchal DIRECTORS: Gianfranco de Bosio, Hans Gratzer, Robert Herzl, Jörg Hube, Ladislav Stros, Wolfgang Quetes, Dominik Wilgenbus
PRESS RIGOLETTO by Giuseppe Verdi "... Violetta Kowal is a very sweet Gilda, singing beautifully over more than two octaves, and touching in her performance" (Marlott Persijn - Vautour) ARABELLA by Richard Strauss "... In a cheerful ensemble Violetta Kowal impresses with the deep emotional expressiveness of her clear voice as Zdenka." (Prof. Dr. Franz R. Stuke) "... her (Arabellas) performance lacked charisma. However, Violetta Kowal made up for this with her excellent soprano quality in the role of Zdenka." (Gabor Halasz) ORPHÉE AUX ENFERS (ORPHEUS IN THE UNDERWORLD) by Jacques Offenbach "... Euridice, sweet round-full soprano, good voice: Violetta Kowal ..." ("West Central Franconia") "... Euridice (Violetta Kowal) is a clever girl, she knows how to use her feminine charms, as well as her impudent trap." (WB) LE NOZZE DI FIGARO (THE WEDDING OF FIGARO) by Wolfgang Amadeus Mozart "... There is Susanna (Violetta Kowal), adorable, sometimes tantalizingly flirtatious, then again ardent, as in the Rose-aria, this animated confession to the beloved Figaro ..." (Marlott Persijn-Vautour) "... Susanna, sung vivdly by Violetta Kowal, flawless ." (Pfälzischer Mercury) MACHE MIR EIN WENIG LÄRM VOR (MAKE A BIT OF NOISE FOR ME) songs, duets, piano works and letters by Fanny Hensel and Felix Mendelssohn Bartholdy "... Soprano Violetta Kowal and mezzo-soprano Susan Maclean complemented each other brilliantly regarding harmony, interpretation and vocal-intonational accordance. Both opened wide the doors to the mysteries of a poignant, fascinatingly beautiful elocution, characterized by a pure, melodious sound and clear diction. It was evident: for the singers, this event was not a compulsory exercise, but an affair of the heart because the songs lived from the devotion to the textual atmosphere.” (Rainer Henn, "Die Rheinpfalz)

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BIOGRAPHY EDUCATION: Violetta Kowal took up singing at the Conservatory of Music in Cracovia with Professor Sonia Lehnert and continued with Professor Maria Vardi, at the same time she studied Geology and Mineralogy at the AGH University of Science and Technology in Cracovia. She compleded her singing education at the Music University in Vienna with Km.Sgr. Margarita Lilova and participated in master classes with Km.Sgr.Ileana Cotrubas and Km.Sgr.Inge Borgh.Her career took off 1996, when she won the third prize in the Ferruccio Tagliavini Competition. OPERATIC DEBUT: She debuted as Blonde in Mozart’s “Die Entführung aus dem Serail” (Abduction from the Seraglio) at the Schoennbrunn Palace Theater in Vienna and as Quinn of the Night in Mozart’s “The Magic Flute” at the Prague State Opera. ENGAGEMENTS: Theatre in St.Gallen in Switzerland, Pfalztheater in Kaiserslautern, Bad Ischl Operetta Festival, Kreuzgangspielen (Cloister Games) Feuchtwangen, St.Margarethen Opera Festival, Gmunden Festival, Festival MozART Praha, Prague State Opera and Vienna Volksoper. CONDUCTORS: Paul Angerer, Rudolf Bibl, Wolfgang Bozic, Francesco Corti, Alfred Eschwé, Richard Hein, Martin Haselböck, Ernst Märzendorfer, Marc Piollet, Kurt Rapf, Alexander Rumpf, Koen Schoots, Jiri Starek, Uwe Theimer, Bohdan Warchal DIRECTORS: Gianfranco de Bosio, Hans Gratzer, Robert Herzl, Jörg Hube, Ladislav Stros, Wolfgang Quetes, Dominik Wilgenbus
PRESS RIGOLETTO by Giuseppe Verdi "... Violetta Kowal is a very sweet Gilda, singing beautifully over more than two octaves, and touching in her performance" (Marlott Persijn - Vautour) ARABELLA by Richard Strauss "... In a cheerful ensemble Violetta Kowal impresses with the deep emotional expressiveness of her clear voice as Zdenka." (Prof. Dr. Franz R. Stuke) "... her (Arabellas) performance lacked charisma. However, Violetta Kowal made up for this with her excellent soprano quality in the role of Zdenka." (Gabor Halasz) ORPHÉE AUX ENFERS (ORPHEUS IN THE UNDERWORLD) by Jacques Offenbach "... Euridice, sweet round-full soprano, good voice: Violetta Kowal ..." ("West Central Franconia") "... Euridice (Violetta Kowal) is a clever girl, she knows how to use her feminine charms, as well as her impudent trap." (WB) LE NOZZE DI FIGARO (THE WEDDING OF FIGARO) by Wolfgang Amadeus Mozart "... There is Susanna (Violetta Kowal), adorable, sometimes tantalizingly flirtatious, then again ardent, as in the Rose-aria, this animated confession to the beloved Figaro ..." (Marlott Persijn-Vautour) "... Susanna, sung vivdly by Violetta Kowal, flawless ." (Pfälzischer Mercury) MACHE MIR EIN WENIG LÄRM VOR (MAKE A BIT OF NOISE FOR ME) songs, duets, piano works and letters by Fanny Hensel and Felix Mendelssohn Bartholdy "... Soprano Violetta Kowal and mezzo-soprano Susan Maclean complemented each other brilliantly regarding harmony, interpretation and vocal-intonational accordance. Both opened wide the doors to the mysteries of a poignant, fascinatingly beautiful elocution, characterized by a pure, melodious sound and clear diction. It was evident: for the singers, this event was not a compulsory exercise, but an affair of the heart because the songs lived from the devotion to the textual atmosphere.” (Rainer Henn, "Die Rheinpfalz)
VIOLETTAKOWAL sopran

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