Goplana

Polish National Opera

Warsaw

2016

.... In this situation Małgorzata Walewska as The Widow comes to the fore. First of all, we understand every word she sings (Possible? Possible!), at the same time she brings to the stage a focus and a subject and she knows perfectly well what her character has to attend to. Even every passage she makes on stage is marked with meaning and sense of why and with what she appears on stage. Vocally she is also flawless.
Wiesław Kowalski
...The biggest stir amongst the audience was caused every time Małgorzata Walewska appeared on stage, she mastered the character of her role with perfection. She was once a venal mother, who wanted to ensure her daughters with a better fate, than a miserable woman who could not understand how she could renounce Alina on the basis of mere slander. Like a great tragedienne she announces the horrible end, by demanding from Balladyna that she pulls the band of her forehead. Every word in her singing was equally significant and important.
Wojciech Giczkowski
... But the real tension was built only by Malgorzata Walewska (The Widow), from her first appearance until the tragic finale. I wonder if she did it alone or with the director's help?
Jacek Marczyński

Die Frau ohne Schatten

Opera Nacional de Bellas Artes

Mexico City

2012

Polish mezzosoprano Malgorzata Walewska was extraordinary in the no less difficult role of die Amme that has a wide and devilish extention from high notes to low notes and that constitutes a PhD in the subject.
Mario Saavedra
A true revelation in this role. Malgorzata Walewska is a forse of nature. Her Amme was fantastic, mixing the evil and mysterious side of the character with some touches of mischief and charm. Her voice has a sensual warmth with a very powerful middle register and ringing high notes. Her acting was also very convincing.
Ingrid Haas
Vocally unquestionable, with performances that were on the rise during the opera, there was the mezzosoprano Malgorzata Walewska (die Amme).
José Noé Mercacado

Samson et Dalila

Deutsche Oper

Berlin

2011

…Malgorzata Walewska‘s beautifully sung Dalila and Alain Altinoglu‘s superb conducting. Almost 46, the Polish contralto is no household name on the top-league opera circuit, yet she boasts a sizeable and richly hued voice coupled with strong, instinctive acting skills, compensating with refined musicality what her registers lack in homogeneity. A much satisfying if somewhat belated discovery for this listener, Walewska is a real contender for Olga Borodina and certainly a serious one for Anita Rachvelishvili or even Elīna Garanča, when and if the Latvian mezzo adds the role to her already vast repertoire.
Renaud Loranger

Don Quixote

Seattle Opera

Seattle

2011

The two Dulcineas, Malgorzata Walewska (Saturday) and Daniela Sindram (Sunday), brought different strengths to their portrayals. While Sindram was the more convincing coquette in the first act, Walewska was absolutely riveting in the second act. Her apology to the Don for being unable to accept his suit was ravishing and emotionally charged: At last, one understood why the poor besotted man had placed this woman on a pedestal.
Sumi Hahn
But the real stars of this opera were the three lead singers. Polish mezzo-soprano Malgorzata Walewska is gorgeous as Dulcinee.
Jackson Holtz
Seattle Opera has been particularly lucky with Polish singers (with memorable performances from the likes of Mariusz Kwiecien, Ewa Podles, and Aleksandra Kurzak), and Polish-born mezzo-soprano Malgorzata Walewska added to that string of successes with a remarkable Dulcinée. The object of Quichotte’s obsession, she first appears from a crowd of admirers in a Violetta-like turn, full of coloratura swoops and roulades, yet here Walewska’s ripe, opulent voice handled the fireworks with only moderate success. Later, however, her real strengths came forward: warm beauty of tone, an imposing and well-focused lower register, and acting skills that made the scene in which she rejects Quichotte deeply moving.
Melinda Bargreen
The Polish mezzo-soprano Malgorzata Walewska sang Dulcinee. Only last year did she sing Judith opposite Relyea in “Bluebeard’s Castle.” She has the most astonishing voice, with its thick, throaty sound — deep and resonant — that is at once, compelling, mesmerizing, and absolutely individual. She returns next season to sing the title role in “Carmen,” something to anticipate.
R.M. Campbell

Il Trovatore

Seattle Opera

Seattle

2010

Opening night's Malgorzata Walewska sang with open tone, the horrific climactic phrases of "Condotta ell'era in ceppi" slashing through the hall, vividly expressing a mother's lacerating pain.
Marc Mandel
On Saturday night's opening show, the mother-son relationship formed the dramatic heart of the evening, thanks to the palpable chemistry between Polish mezzo-soprano Malgorzata Walewska and Italian tenor Antonello Palombi. The two extended scenes between these singers — in the gypsy camp and in prison — were mesmerizing. The gypsy camp scene, beautifully staged in a manner that evoked a Bruegel painting, is studded with instantly recognizable gems: the famous "Anvil" chorus; the jittery "Stride la vampa" flashback; the haunting confessional "Condotta ell'era in ceppi”. In every one of these pieces, the agony of Walewska's Azucena was utterly convincing and never cartoonish. When she sinuously implored her son not to leave her to save his lady fair, one marveled at his strength of will to do so, especially for Lisa Daltirus' wilting violet of a Leonora.
Sumi Hahn
Walewska was a dramatically intense Azucena, particularly effective in the upper part of Azucena’s vocal range in her three big arias, as well as her several duets with Manrico and di Luna.
Lisa Daltirus

Il Trovatore

Royal Opera House

London

2009

There was a great deal to cheer over: both conductor Carlo Rizzi and Dmitri Hvorstovsky as villain Count di Luna have returned unwithered from the 2002 original and, in place of enmity, there appears to be a good-natured rivalry between Sondra Radvanovsky’s Leonora and Malgorzarta Walewska’s Azucena — both new to this production — over who best combines stage presence with sheer vocal talent. Roberto Alagna more than holds his own in such distinguished company as the eponymous troubadour Manrico.
David Trennery
Małgorzata Walewska’s Azucena marked a stand-out House debut. The part has a wide range, having to plumb incredible depths. What made ‘Stride la vampa!’ (The flames are roaring) – the story she tells the crowd around her of the burning of the old gypsy woman – particularly chilling was her unnatural calm that fluttered with apprehension. Later, in delirium, Azucena reveals to Manrico that he is the brother of the Count and not her son and that she had cast into flames her own son. This whole dialogue between Manrico and Azucena, that forms the centre to Part Two, laid the black depths of human nature bare in horrifying starkness. Wonderful stuff!
Kevin Rogers
Enfin, la Polonaise Malgorzata Walewska possède un vrai style théâtral, tendu et enflammé. Elle s’impose vocalement et dramatiquement comme la révélation de cette production.
Antoine Leboyer

Rigoletto

Washington National Opera

Washington

2008

Malgorzata Walewska offered a darkly burnished mezzo and colorful acting as Maddalena.
Tim Smith
As his sister Maddalena, mezzo Malgorzata Walewska was also impressive. Her generous and plumy voice was a delight to hear in the great quartet of Act IV.
Micaele Sparacino
...worthy of note company debut of Malgorzata Walewska as a strong, sonorous Maddalena...
Anne Midgette
Malgorzata Walewska as Maddalena, his equally amoral sister, exudes a convincing earthiness and the finely honed instincts of a survivor. Her striking mezzo-soprano, with a tone like heavy velvet, brings much magic to her smaller singing role.
Kate Wingfield

Cassandra

Deutsche Oper

Berlin

2007

The titular prophetess was Polish mezzo Malgorzata Walewska, who sang her surprisingly small role with deep, hissing tones and venomous relish. If not quite so gripping as Anthony's Clitemnestra, Walewska still gave an impressively forceful and committed performance
A.J. Goldmann

Samson et Dalila

Hawaii Opera Theatre

Honolulu

2007

Malgorzata Walewska was an outstanding Dalila. Her warm, dark-chocolate mezzo-soprano was seductive in Act I, covered the gamut of emotional expression in Act II and revealed a core of steel in Act III. Beautiful, commanding, wholly committed, she looked, acted and sang the part beautifully.
Ruth O. Bingham

Nabucco

Baltimore Opera Company

Baltimore

2006

Malgorzata Walewska likewise produced take-notice vocalism as Fenena. She has exemplary technical control and a burgundy-rich mezzo with power to burn, but is also capable of considerable tenderness, as in her gently phrased "Oh, dischiuso e il firmamento.
Tim Smith