Jacek Marczyński „Rzeczpospolita”




K.PENDERECKI - „CzarnaMaska” 

Baltic Opera/The Great Theatre Opera Warsaw 




...outstanding Katarzyna Hołysz...”

Dorota Szwarcman




...the singers have done a wonderful job (…), especially Katarzyna Hołysz (Benigna)...”


Marzena Bakowska – radiogdansk.pl



...Katarzyna Hołysz was the Star of the evening...”


Piotr Wyszomirski – Gazeta Świetojańska



"... the roles were casted with the blameless singers, led by Katarzyna Hołysz ( outstanding Benigna) ..."


Sławomir Pietras - „Angora”



"...The Baltic Opera cast was the highest level, led by Katarzyna Hołysz, who in the big monoloque of Benigna shows all the colour of the emotions of her heroine - trembling from nerves, trying to fight, but aware of her fate and the strenght of desire, which she gives in..."


Jacek Marczyński - „Ruch Muzyczny”






( Desdemona )

Desdemonas Gesang trifft ins Herz

...Als hochgewachsene, herbe Schönheit zog Holysz-Gemeinhardt die Blicke auf sich. Ihr erster Ton als Lady Macbeth („Nel di della Vittoria“) überraschte mit wunderschöner, runder Mezzofärbung, die sich beim Blick in die Künstlerbiografie erklärte: Die studierte Wirtschaftswissenschaftlerin hat ihre Karriere als Mezzo begonnen. Der stimmlich starke Eindruck setzte sich fort in Ausstrahlungskraft und einer offenen, direkten Art sich auf der Bühne zu geben, die ihr vielleicht die richtig großen Bühnen öffnen kann: als furiose Drama-Queen Macbeth, als seelisch nackte Desdemona („Otello“), die, nur von spärlichen Klavierklängen gestützt, mitten ins Herz traf. ..”

mainpost.de Katja Tschirwitz



PARSIFAL” - R.WAGNER – Filharmonie Breslau


(...)Eine ganze Palette an verführerischer Vokalgestaltung offerierte KATARZYNA HOLYSZ

als emotional-expressive Kundry, der man jede Phrasierung der schönsten Tongebung von den

Lippen ablesen konnte, und durchlebte intellektuell ihre Partie mit bewundernswertem Feingefühl(...)”

Peter Kuester





"The main heroine is orinally a singer, and the opera singers playing that role put in it someting from their own lefe.. Primadonnas have to concentrate the attention on the in their life and on the stage, and sometimes exagerrate , emhasizing their emotions. And exactly in that way the presenting Tosca. Even when they are killing Scarpia, the are doing the with the theatrical way. And the famous „Vissi d'arte” aria they are treating like their callenge.

And in that production Katarzyna Holysz sing the aria like a intimate prayer, because her Tosca is most of all modest. Of course sheis a woman with the enormous interior strenght, but this strenght she discovers gradually. Her own position and carrier are not important. Even more – she is determined to give herself to the man, who she looks down on, to save the man she loves.


Nowdays the women strive toward the self-realisation, not to sacrifice themselves to the men.Meanwhile Tosca, although wears trousers in this production, follows the old principles. And yet she is real and touching. Even for somebody, who has seen Tosca many times.




Jacek Marczyński - Rzeczpospolita 



"...Katarzyna Holysz as Tosca shows the whole vocal art. Not even for a moment this vocally difficult part seems to be hard for her and all emotions, she brings out during the most famous aria of the oper - „Vissi d'arte”, at the moment of trading with Scarpia about the body and the soul of her, force to hear the lamentation of Tosca with the tight throat. Hołysz also in the last scene gives us the reason why she is one of the BEST SOPRANO in Poland... "


Łukasz Rudziński - trójmiastp.pl 



"...The Queen of the stage was Katarzyna Holysz. She created the extremally credibleand touching personage. Katarzyna Hołysz has proved one more time, that with her perfect sounded and plastic voice is able to create the full range of emotions...."


Maja Korbut, Jarosław Zalesiński- POLSKA Dziennik Bałtycki 



"..Tosca – the woman with the noble heart and angelic voice ( Katarzyna Hołysz) (...) the voice od Tosca sounds extremally beautiful and saying colloquially – forces to the back of your seat !!! ..."


Nina Mazurewicz , mim24.pl 








„The opera tells a story of two spouses: Leonora (in this part sensational soprano Katarzyna Hołysz)”

Anna Łukaszuk „Gazeta Wyborcza"


„Not with standing the undeniable vocal values, which are crucial amongst stage parameters of the opera, Hołysz showed acting skills. Her choreography, gestures illustrated the current situation of Leonora - Fidelio. When she was anxiously watching for Florestan in the crowd of convicts , when digging a grave for her husband she tried to kill accompanying her caretaker. Finally, when as the woman in love she tried to hide her elements of femininity to present herself to Rocco as a brave young guard. It was then that not only singing, but also the stage movement made it possible to empathize with the fate of the character. Apart from banality of the content of this libretto. Inasmuch as it was possible to present the character of Leonore-Fidelio in the non-trivial way Katarzyna Hołysz succeeded...”


Maciej Pieczyński Teatralia Szczecin 



„Katarzyna Hołysz, the title Fidelio aka Leonora sang beautifully...”

Małgorzata Klimczak MM Moje Miasto



„...The largest and well deserved applause was received by Katarzyna Hołysz – Fidelio...”

Ewa Koszur „Głos Szczeciński” 




FIDELIO – production of Ludwig van Beethoven Association and the Beethoven Academy


"... The title part of Fidelio (or Leonora) has this time been entrusted to a mezzo-soprano Katarzyna Hołysz, known and appreciated especially for her interpretations in German and French language. Also this time she has created a convincing character by acting and singing. As an actress she was very cautious, but consistent and determined to achieve the goal, she became a figure of the sublime, capable of the greatest sacrifices of conjugal love. Her two, full of tension and expression fragments (the song Come, Hope and the duet Oh joy beyond all understanding) sung with a strong voice left no illusions: this role was certainly possible and due for her ...

Jacek Chodorowski maestro.net.pl 



„...Katarzyna Holysz sounded exciting with her combination of lower-register riches and radiantly secure top notes. … Her 'Abscheulicher' was projected with plenty of dramatic amplitude...”


John Allison - „Opera”



„...Fidelio was impersonated by Katarzyna Hołysz, the ideal Leonora, heroic and lyric at the same time, who easily overcame all vocal problems which the composer had piled up in this role...”

Anna Woźniakowska „Ruch Muzyczny” 







„...The unsatisfying concept and the lack of consistency in the set design are beautifully made up by the two chracters – Halka played by Katarzyna Hołysz and Jontek (…). Katarzyna Hołysz softens her emotions, showing the absence of hope that grows in her, ultimately leading to madness and suicide...”

Katarzyna Wysocka „Teatr dla Was”



„...In this role, excellent Katarzyna Hołysz. (...) Halka ... You have such a charming voice that you can use it to wrap everyone around your little finger, like a silk ribbon. You are endowed with "wonderful external values," as one can say euphemistically, if not directly, "you are beautiful". And you have excellent acting skills. What more could you want?...”


Tadeusz Skutnik „Dziennik Bałtycki”



„...When it comes to vocal performances, one acteress deserves a special attention - certainly blessed with a wonderful dramatic soprano and statue-like appearance Katarzyna Hołysz who plays the role of Halka. From the beginning to the very end she was presenting her role with great lyricism, commitment, exhibiting her very good vocal skills and great acting. With finesse and delicacy she overcame even the most difficult parts of the score of Moniuszko. Her singing moved and delighted...”


Katarzyna Chmura „Gazeta Wyborcza”



„...Herausragend die Partie der Halka, Katarzyna Holysz, die sowohl stimmlich und auch

darstellerisch eine perfekte Leistung bot. Ihr Sopran hat eine enorme Durchschlagskraft, spricht aber ebenso im Piano und Pianissimo an. Ihre große Szene im letzten Akt ist der Höhepunkt der Oper...”


(The outstanding creation of Katarzyny Hołysz, whose both vocal and acting were perfect! Her soprano has enormous force but it is also excellent in piano and pianissimo. Her big scene in the last act was the climax of the opera ...”)





“...Het meeste indruk op mij maakte de sopraan Katarzyna Holysz in de titelrol. Een paar maanden geleden had ze veel succes met eenzelfde soort rol in Ariadne auf Naxos. Die ervaring verrijkte nu haar vertolking van de Halka-partij. Het kan betwist worden of ze nu echt een boerenmeisje was, maar de artistieke indruk die ze maakte, was uitstekend....”

Andrzej Orlowski www.operamagazine.nl 



St.Moniuszko "HALKA" – Kraków



... The soloists of the opera in my opinion were dominated by the performer of the title role, Katarzyna Hołysz. This magnificent mezzo-soprano singer has proven to feel very good in parts of the soprano, requiring dramatic expression and tension. The artist creates an interpretatively poignant portrait, reveals her character's changes of mood: gentleness, naive simplicity, sensitivity and dedication. She beautifully sang her spectacular songs: Jako od wichrów, Gdyby rannym słonkiem, O mój maleńki. The voice of Katarzyna Hołysz is free and brilliant in the entire width of the scale ... "

Jacek Chodorowski maestro.net.pl 



„...Particularly noteworthy is the lead actress - Katarzyna Hołysz. Blessed with a great voice and wonderful appearance she charmed both with singing and acting. Her voice delighted and moved...”


Jakub M. Lis - polskamuza.eu 






„...The Princess (Katarzyna Hołysz) confirmed the great impression that she did, appearing in Łódź in "The Freeshooter...”


Renata Sas „Express Ilustrowany” 



„...There is no doubt that Wioletta Chodowicz and Katarzyna Hołysz seduced the audience with their voices (…) „

Joanna Rybus „Gazeta Wyborcza” 




„... In the dramatic role of the Foreign Princess Katarzyna Hołysz exhibited her acting temperament and excellent vocal technique, as well as a pretty timbre and great control over the voice dynamics – which is very rare for this role...”

Bartosz Kamiński „Ruch Muzyczny”






„...Katarzyna Hołysz (gifted with strong voice, full of warmth and light) created a believable character of Ariadne: lost, desolate, plunged into depression and despair, helpless in her expectation of love...”

Katarzyna Chmura „Gazeta Wyborcza”



„...The narcotic, beautiful music of Strauss moves us almost to tears, especially when we look at the ardent devotion of Ariadne. The strength of this character - especially when it is played and sung like Katarzyna Hołysz does - overwhelms and defeats...”


Dorota Szwarcman szwarcman.blog.polityka.pl 



„...Nagyszerű énekesnőt és sugárzó asszonyt ismerhettünk meg az Ariadnét éneklő Katarzyna Holysz személyében. Neki köszönhettük, hogy hosszú-hosszú percekig érzékelhetővé vált Strauss zenéjének zsenialitása, s bizony, az Es gib ein Reich alatt el kellett fordítani tekintetünket a színpadról. Miközben hallgattuk énekét, arra gondoltunk, hogy „na ezzel vegye fel a versenyt az internet, a tévé és a mozi...”

opera portal Molnár Szabolcs



„...Katarzyna Hołysz was Ariadne with a mature, noble, rich in overtones voice and monumental beauty, charming with her classic, one might say "Gluck-like" expression of the two great monologues "Ein schones war" and "Es ist ein Reich". Sha also fascinated with a dramatic colouring in a little pompous, Wagnerian finale...”


Olgierd Pisarenko „Ruch Muzyczny”



“...Katarzyna Holysz was verbluffend als Ariadne …Katarzyna Holysz geeft een verbluffende vertolking van de titelrol. Met haar grootse, drama ademende stem is ze een heldin van formaat...”


Jordi Kooiman www.operamagazine.nl



„...Hołysz's part of Ariadne was beautiful and poignant, she showed lots of voice tones and a great diversity of dynamics. It was Ariadne at the highest level, the one that the audience of all the greatest opera houses would love to hear...”




„...Above all, however, stands out the role of Katarzyna Hołysz, who sings the part phenomenally beautiful and at the same time is actually incredibly true theatrically. It is a rarity in the opera...”


Stefan Drajewski Polska The Times 



„...It turned out that we have Katarzyna Hołysz who perfectly reflects my idea of the role. ...”


Maestro Jose Florencio Junior dla Stefan Drajewski  Głos Wielkopolski 


„...Katarzyna Holysz ist eine gut aussehende Primadonna, die ein wenig arrogant auftritt, später aber, im zweiten Akt, ganz in der Rolle einer Geistesgestörten aufgehört, die sich als Ariadne fühlt und auf ihren Geliebten wartet. Sie ist sicherlich ein stimmgewaltiger dramatischer Sopran und ideal für diese Besetzung...”

“...Katarzyna Hołysz is perfect for this part…”

"Rock-Lady und Opernstar"
Thomas Migge





„(...)We should appreciate Katarzyna Hołysz, who was not only visually impressive goddess Venus, but showed a picture of her character, in which the proud goddess fights with the submissive woman in love...”

Adam Czopek „Nasz Dziennik” 



„(...)Goddess, the essence of femininity (having phenomenal physical abilities, very good vocal of Katarzyna Hołysz)(...) „

Martyna Pietras „Gazeta Wyborcza” 




„(...)I was extremely pleased with Venus by Katarzyny Hołysz (anyway the most acclaimed) …”


Magdalena Talik www.kulturaonline.pl




„...Especially young soprano of Katarzyna Hołysz as Venus and (...) restored faith in the Polish vocal education ...”


Bronisław Tumiłowicz „Przegląd” 




„...Katarzyna Hołysz as Venus confirmed her great skills in both voice and acting...”

Marek K.Jankowiak „Gazeta Pomorska” 




„(...)Katarzyna Hołysz as Venus was seducing with her voice...”

Jacek Marczyński „Rzeczpospolita” 



„(...)Venus herself, in the interpretation of Katarzyna Hołysz, one of the most brilliant and promising sopranos of the young generation, who combines a beautiful voice with excellent good looks, was perhaps the most brighyly shining star (…)”

Józef Kański „Ruch Muzyczny” 




Der Freischuetz” – C.M. Von Weber – GRAND THEATRE ŁÓDŹ 



„(...)great appreciation was due above all to the singing of two ladies - Katarzyna Hołysz (Agathe) and Iwona Socha (Ännchen). ..”

Patrycja Kruczkowska „Gazeta Wyborcza” 



„...Playing this character [Agathe] Katarzyna Hołysz was undisputed vocal star of the premiere. She delighted with the voice of great strength (mezzo-soprano coping great with soprano tones) and interpretive sensitivity...”

Renata Sas „Express Ilustrowany” 



„...Katarzyna Hołysz (Agatha) - one of our genuine vocal talents of recent years...”

Jacek Marczyński „Rzeczpospolita” 



„...(…) [Katarzyna Hołysz] created a convincing portrayal of a young girl waiting for the most important moment in her life, on the occasion, presenting a beautifully sounding voice, the freedom of its flow and wonderful piano. (…)...” Adam Czopek „Nasz Dziennik” 



„...(...)Especially Katarzyna Hołysz sang perfectly. The prayer of Agathe in her performance literally gripped the heart. ...”

Marta Śniady „Polska Dziennik Łódzki” 



„...On stage, however, the person who excelled was Katarzyna Hołysz, well-known from the stages in Poznań, where for several years she has sung mezzo-soprano leading parts. In Łódź she perfectly and phenomenally beautifully presented the soprano Ahathe.(...)”


Michał Lenarciński www.lenarcinski.blog.onet.pl 




(...)Vocal sensation is the part of Agathe by Katarzyna Hołysz who possesses a beautiful, strong soprano. …”

Bronisław Tumiłowicz „Przegląd” 



„...The second bright spot is an extremely successful debut of a young soprano Katarzyna Hołysz, endowed with exquisite and beautiful voice, in a difficult and responsible role of Agathe - the bride of an unfortunate shooter Max. It was a real pleasure to listen to her great song in the second act of the Weber's opera – so filled with drama, as well as to other scenes with her participation. (…)”


Józef Kański „Ruch Muzyczny” 



Der Freischuetz” – concert performance – Kraków Philharmonic 



„...Among the soloists (…) the leader was Katarzyna Hołysz as Agathe, blessed with the perfectly controlled voice with charmig timbre. ...”



Anna Woźniakowska Dziennik Polski



Der Freischuetz” – Grand Theatre Poznań


„...undoubtedly the star of the evening was Katarzyna Hołysz as Agathe - beautiful and perfect-sounding voice, and the song from the third act of "ab Und Die Wolke" provided me with many emotions....”







„...As Lady Macbeth appeared Katarzyna Hołysz, a young singer from Poznan, debuting in this challenging vocally and theatrically party. She was a class of its own - such an interpretation may be the pride of the leading stages, not only in Poland. It is interesting that Hołysz, who until recently sang mezzo-soprano, has with great success undertaken in recent seasons the performing of soprano roles, as evidenced by her performances in Ariadne on Naxos, Halka, Fidelio and The Free Shooter. Already, her choice of repertoire indicates that Hołysz has spinlo voice, indeed – it cuts the air like a razor and is free to the top of the scale, but at the same time it retains a nice, warm timbre and roundness of tone. Although these are not the qualities that are expected from Verdi's Lady Macbeth's voice, nevertheless Hołysz found her interpretative key: the heroine is both demonic and full of sexiness, rarely one can hear a performance of the role so full of tempting strength. The other singers were in her shade...”


Bartosz Kamiński Ruch Muzyczny 



„...The real pearls were, of course, the music of Giuseppe Verdi and Macbeth's (Vittorio Vitelli, baritone) and Lady Macbeth's (Katarzyna Hołysz, mezzo-soprano) solos. Both sang magnificently, complementing each other's energy and power of message. Hołysz showed exceptional vocal skills, perfectly performing one of the toughest female opera roles....”


Katarzyna Wysocka Gazeta online



„...Worth of the applause are vocal and theatrical performances. Soloists with the great Italian baritone Vittorio Vitelli (Macbeth) known from La Scala and Katarzyna Hołysz (Lady Macbeth) created a poignant characters. They both raised to the heights of their exceptional vocal abilities.

„...Katarzyna Hołysz as Lady Macbeth created a powerful character ...”


Katarzyna Chmura Gazeta Wyborcza Tricity 




„... Katarzyna Hołysz can always create full-blooded, suggestive stage characters...”


Jarosław Zalesiński Polska Dziennik Bałtycki 



„...Gdańsk Theater has the courage to invite for the title part the renowned Italian baritone Viittorio Vitelli and is able to provide him with an equal partner as Lady Macbeth. Katarzyna Hołysz overcame the technical pitfalls of this difficult role with a youthful dash. She took a risk and won, what will happen in a few years - we'll see. She's our biggest vocal talent of recent years. ...”


Jacek Marczyński Rzeczpospolita 



„...Katarzyna Hołysz as Lady Macbeth combines: a woman's captivating beauty and model figure, she plays convincingly, drawing the viewer into the tangle of feelings and emotions, and above all as a singer she renders Verdi's role perfectly. That's exactly her - crazy, ruthless, certain of her feminine magic, she builds up the atmosphere of the performance...”


Katarzyna Korczak Portal Wrzeszczan 



NORMA (Adalgisa) – V.Bellini – Kraków Philharmonic concert performance 


„(... 'Norma' is, above all, beautiful singing and proper outline of characters. This is where Katarzyna Hołysz unquestionably prevails, proving with every phrase of her beautiful voice that she had thoroughly thought out and experienced the concept of the role she created. ..)”


Anna Woźniakowska „Dziennik Polski”


...Adalgisa by Katarzyna Hołysz (having an experience in stage performances in this part) was also excellent. She has once again proven to be one of the leading contemporary Polish mezzo-sopranos. Her voice was beautiful and strong, and her interpretation convinced us that she had explored and understood the heroine's feelings...”


Jacek Chodorowski maestro.net.pl 





Richard Strauss „SALOME”




...Katarzyna Hołysz led charmingly her singing role of Salome, softening the tension in skillfully conducted cooperation with the dancer Franciszka Kierc... Katarzyna Hołysz left the audience with the conviction of her vocal and interpretive talent...”


Katarzyna Wysocka „Gazeta Świętojańska” 


...Katarzyna Hołysz in the role of Salome created a great, deeply compelling, sometimes chilling performance. She delights with her voice, acting, beauty and figure. ...”


Katarzyna Korczak 



... (Salome)- the spectacle woven on the impressive, poignant soprano of Katarzyna Hołysz and very good opera orchestra ...”




...Katarzyna Hołysz appeared in the part of Salome. She sang her part as always spellbinding, with beautifully sounding and well-controlled voice, with an amazing dose of emotions ... The other soloists also came off very well, but the scene belonged to Katarzyna Hołysz...”

                           Maja Korbut, Jarosław Zalesiński Polska Dziennik Bałtycki 



...The lead performer Katarzyna Hołysz - (is) a memorable Ariadne, a singer with a lovely, radiant high register, who combines a thorough knowledge of Straussian vocal style with an impeccable, noble technique. As Salome she created a poignant performance - focused and full of dramatic force - which can not be ignored by the more well-known opera houses, and the great final scene she sang with great inspiration.


Olgierd Pisarenko „Ruch Muzyczny” 



...The part of Salome in her interpretation will make the history of opera.”

Marek Weiss – portkultury.pl



„...Soprano Katarzyna Hołysz, once again confirmed her great artistry not only vocal, but also dramatic. (...) Both, Katarzyna Hołysz's vocal and stage acting delight the audience...”


Official blog WWSH in Warsaw - Małgorzata Herka,

Student of second year of second degree studies in Cultural Studies




Concert Kraków Philharmonic – Wagner „Wesendonk Lieder”, Izolda “Liebestod” 



...The performer ("Wesendonk Lieder"), at the discussed concert was Katarzyna Hołysz, now a prominent Polish singer of the younger generation. The nobility of her voice, its beautiful and warm timbre and intensity of the tone, and the expression in presenting affection and passion literally captivated the audience.

Wagner's second song that we have heard this evening (23 March 2012, Karol Szymanowski Philharmonic in Kraków) was the Prelude and Isolde's Love-death of the music drama 'Tristan and Isolde.' This beautiful piece of poetry combines with music into one force, and the tragedy of love is expressed with the massive power of passion and fullness of feeling. That was how the song was interpreted by the artist. And the audience listening in tenseness to the great singing, expressed their approval of the performance with the real hurricane of applause for the singer, the conductor and the orchestra. ...”


Jacek Chodorowski –maestro.net




TOSCA – Teatr Wielki Łódz



„... Katarzyna Hołysz made a very realistic dramatic stage creation. Tosca created by her was emotionally intense and genuine in her responses, and her voice beautifully suited to the role as evidenced by the great piano in Vissi d'arte...”

Marta Śniady – „Dziennik Łódzki”


„...Katarzyna Hołysz, making her debut in the part of Tosca, enraptured...”


Michał Lenarciński-O kulturze i nie tylko (blog)-



„...Katarzyna Hołysz (...) her aria Vissi d'arte she sang impeccably, perfectly controlling her high piano...”


Joanna Tumiłowicz – maestro.net 





-„Sea of dreams blew at me” – Baltic Opera 




„...The parts sung by Katarzyna Hołysz (...) sounded extremely touching, gradating tension until the end...”


Olga Jankowska – portkultury.pl 



G. VERDI - "OTELLO" - The Baltic Oper Gdansk


“Katarzyna Hołysz delights with her soprano, especially poignant when she sings piano, delicately and very emotionally. I don't remember ever hearing her in such a perfect form - her song about the willow ("Canzone del salice") and the duet with Otello "Dio ti giocondi, about the way" in which it brings out a whole range of emotions of a despairing, rejected woman "sound great."





“Katarzyna Hołysz  seems to be created for the role of Desdemona,  because of her stage personality and beautiful voice. "

                                                                  Dorota Szwarcman



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