General Management Worldwide

Biography

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.

Already while studying, in 2008, Wanda Franek debuted on the stage of the Warsaw Chamber Opera as Lucinda in L’amante di tutte. In 2012 she began her cooperation with the Polish National Opera taking part in productions of Manon Lescaut directed by Mariusz Treliński as well as Lohengrin directed by Antony McDonald.

From 2013 until 2015 she was a member of the Opera Academy at the Polish National Opera. In 2014 within the project Aldeburgh Music, she debuted on the stage of Snape Maltings in Aldeburgh, where she has sung the part of Amor in L’incoronazione di Poppea directed by Daisy Evans. The same year she has begun her cooperation with the Krakow Opera, performing in Mefistofeles produced in a coproduction with Trondheim Symfoniorkester and directed by Tomasz Konina.

In 2015 she has debuted as Dorota in The Cracovians and the Mountaineers and the Old woman in The Haunted Manor directed by David Pountney, under the music direction of Andriy Yurkevich at the Polish National Opera. She has also sung the part of Erenice in Sosarme with Capella Cracoviensis.

The artist’s debuts in the years 2016-2018 include the parts of Mercedes in the premiere production of Carmen and Suzuki in Madama Butterfly at the Castle Opera in Szczecin, Lola in Cavalleria rusticana at the inauguration of the XIX Ada Sari International Vocal Artistry Festival in Nowy Sącz, Arete and Ksieni in the premiere production of L. Różycki’s Eros i Psyche at the Polish National Opera, Mistress Quickly alongside Bryn Terfel at the Royal Liverpool Philharmonic in a concert version of Falstaff and Smeton in Anna Bolena at the Krakow Opera.

In the 2018/2019 season Wanda Franek came back to the Krakow Opera debuting in the part of Urszula in S. Moniuszko’s Beata and performed for the first time at the Baltic Opera in Gdańsk the role of Myrtale in the premiere production of Thaïs. In the 2019/2020 season Miss Franek’s engagements include her come back to the part of Myrtale at the Baltic Opera, as well as debuts in the parts of The Old Lady in Candide on the same stage and of Jadwiga in The Haunted Manor at the Grand Theatre in Łódź.

Equally committed to concert repertoire, the artist 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.

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

Audio

Reviews

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

L. Bernstein, Candide, The Old Lady
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, Myrtale
S. Moniuszko, Beata, Urszula

S. Moniuszko, The Haunted Manor, Jadwiga, 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

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