Polish mezzo-soprano Wanda Franek is combining impressive dark tone color of her voice with masterful interpretations.


Cited as “promising singer with a noble sound” and “amazing singer with deep, strong and touching voice by Polish classical music critics, a native of Łódź, Wanda Franek began her vocal studies at Fryderyk Chopin Music University in Warsaw under the tutelage of Professor Jadwiga Rappé. During her studies she was awarded the First Prize at the Ludomir Różycki Vocal Competition and the Third Prize at the National Vocal Competition in Duszniki Zdrój. She was a finalist of the I International Antonina Campi Vocal Competition in Lublin. From 2013 until 2015 she was a member of Opera Academy at the Polish National Opera.

In recent years Miss Franek has been heard as Lucinda in L’amante di tutte by B. Galuppi, Cornelia in Giulio Cesare in Egitto by G. F. Händel, Amore in L’incoronazione di Poppea by C. Monteverdi, Pantalis in Mefistofele by A. Boito, Dorota in The Cracovians and the Mountaineers by J. Stefani, the Old woman in The Haunted Manor by S. Moniuszko and Erenice in Sosarme by G. F. Händel on the stages of the Polish National Opera, the Warsaw Chamber Opera, the Krakow Opera, the Collegium Nobilium Theater and in operatic concert performances with the Britten-Pears Baroque Ensemble and Capella Cracoviensis.

In the 2016/2017 season she debuted as Mercedes in the premiere production of Carmen and as Suzuki in Madama Butterfly at the Castle Opera in Szczecin. In May 2017 Miss Franek sang for the first time the part of Lola in P. Mascagni’s Cavalleria rusticana at the inauguration of the XIX Ada Sari International Vocal Artistry Festival in Nowy Sącz.

The 2017/2018 season Wanda Franek has began with debut in the parts of Arete and Ksieni in the premiere production of L. Różycki’s Eros i Psyche at the Polish National Opera. In November 2017 she sang for the first time the part of Mistress Quickly at the Royal Liverpool Philharmonic in a concert version of G. Verdi’s Falstaff. She has also debuted in the part of Smeton in G. Donizetti’s Anna Bolena at the Krakow Opera. The artist’s engagements in the 2018/2019 season include the parts of Urszula in S. Moniuszko’s Beata at the Krakow Opera and the part of Albina in the premiere production of J. Massenet’s Thaïs at the Baltic Opera in Gdańsk.

Wanda Franek has performed extensively as soloist with Sinfonia Varsovia, the Polish Radio Symphony Orchestra, the Johann Strauss Chamber Orchestra, the Chamber Orchestra „Collegium Musicum”, the Lower Silesia Philharmonic Orchestra, Musicae Antiquae Collegium Varsoviense, the UMFC Chamber Orchestra, the Podlasie Philharmonic Orchestra, Capella Gedanensis, Sinfonia Iuventus, and many others in Poland, United Kingdom, Germany and Norway.

Equally committed to concert repertoire, Wanda Franek performs works ranging from Bach to contemporary music, including Mahler and Dvorak.

Updated March 2019
∗ This biography can be edited only by Studio Kultura



Falstaff – Mistress Quickly
Royal Liverpool Philharmonic, 2017

“…Young Polish mezzo Wanda Franek may well be the most voluptuous Mistress Quickly the opera has ever seen; most important, she has the comic chest tones for “reverenza” and “povera donna”. With time, could she become the Amneris and Azucena the world so badly needs?” David Nice www.theartsdesk.com

“…Most striking of all was Wanda Franek’s Mistress Quickly, with a gorgeously dark mezzo sound and younger than she’s usually played, so that the dynamic of her exchanges with Falstaff gained a different tilt.” Andrew Clemens, www.theguardian.com

Opera Repertoire

G. Bizet, Carmen, Mercedes
A. Boito, Mefistofele, Pantalis, Marta
G. Donizetti, Anna Bolena, Smeton
G. F. Händel, Giulio Cesare in Egitto, Cornelia
G. F. Händel, Sosarme, Erenice
G. F. Händel, Semele, Juno
B. Galuppi, L’amante di tutte, Lucinda
P. Mascagni, Cavalleria rusticana, Lola
J. Massenet, Thaïs, Albina
S. Moniuszko, Beata, Urszula

S. Moniuszko, The Haunted Manor, Old Woman
C. Monteverdi, L’incoronazione di Poppea, Amore, Arnalta
W. A. Mozart, Betulia liberata, Giuditta
G. Puccini, Madama Butterfy, Suzuki
G. Puccini, Manon Lescaut, Madrigalist
L. Różycki, Eros i Psyche, Arete, Ksieni
J. Stefani, The Cracovians and the Mountaneers, Dorota
G. Verdi, Falstaff, Mistress Quickly
R. Wagner, Lohengrin, Page IV

Oratorio Repertoire

J. S. Bach, Hohe Messe in h-Moll
J. S. Bach, Johannes Passion
J. S. Bach, Magnificat
J. S. Bach, Cantatas BWV 80, 156, 165, 185
G. F. Händel, Messiah
P. Łukaszewski, Luctus Mariae
F. B. Mendelssohn, Elias
W. A. Mozart, Requiem

W. A. Mozart, Coronation Mass
G. B. Pergolesi, Stabat Mater
S. Prokofiev, Aleksander Nevsky
A. Scarlatti, Stabat Mater
A. Vivaldi, Gloria
A. Vivaldi, Juditha triumphans, Holofernes
A. Vivaldi, Stabat Mater