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His tremendous baritone roams a wide emotional frontier, from tenderness to ferocity with equal ease. Reaching down to a velvety, growling bass, he was capable of floating the long vowels at the top of his range before biting off the final consonants. Devouring the role, Konieczny is everything opera should be, certainly Wagner’s operatic vision of the Gesamptkunstwerk. On a stageful of dazzling singers, he is also—and perhaps foremost—an actor. Konieczny’s super power is his ability to inhabit and reveal his character from the inside out. Christina Waters/  OPERAWIRE

„Tomasz Konieczny, jugendlich leuchtend freilich, singt diesen Jupiter in Salzburg schier unübertrefflich. Sein Bariton strömt in ebenmäßigem Legato, lichterfüllt, weich, voll Kraft und unermesslicher Großzügigkeit. Die Stimme strahlt perfekt über den mitschwingenden Kopf ab. Die Artikulation ist vorbildlich.“ FRANKFURTER ALLGEMEINE / 02.08.2016

„Tomasz Konieczny, jugendlich leuchtend freilich, singt diesen Jupiter in Salzburg schier unübertrefflich. Sein Bariton strömt in ebenmäßigem Legato, lichterfüllt, weich, voll Kraft und unermesslicher Großzügigkeit. Die Stimme strahlt perfekt über den mitschwingenden Kopf ab. Die Artikulation ist vorbildlich.“ FRANKFURTER ALLGEMEINE / 02.08.2016

Bayreuth Festival 2023 Review: Der Ring des Nibelungen By Christina Waters
The Walküre was commanded by reigning Wotan, Tomasz Konieczny, a bravura actor capable of fierce vocal power and emotional range.

His voice, especially in the velvety, rounded lower edge of the baritone tessitura, was explosive from start to finish. His bitter denouncing of Alberich, the octave leap in which he declares “das Ende!” attacked the opera house like a bolt of sonic lightning. And the finish of his harrowing “Leb’ wohl” to Brünnhilde, when he finally fully grasps what has happened, was breathtaking. His robust voice now spent—as he made us believe—he crumpled to his knees, and while the entire house grew hushed, he sang-whispered the loss of his dynastic dream. It was sheer magic. The performance of a lifetime.

From his recent triumph as at the Met as the Hollander, to the many Wotans in European halls that have honed his confidence in the role, Konieczny is in the prime of his stardom. His charismatic Wotan in this 2023 “Ring” gave lucky audiences everything they came for. Clad in a Naples yellow suit and sexy platinum haircut longer on one side to suggest the missing eye, Konieczny’s Wotan was a swaggering flawed pater familias, as troubled and petulant as any of his children or siblings. He drinks, he lusts, he bullies, and he drinks some more. Instead of leading his bickering family proudly across the rainbow bridge at Rheingold’s end, Konieczny literally danced his way through the final bolero alone, on a balcony high over the stage. Reveling in his own fantasy, in a moment of electrifying stagecraft.

His tremendous baritone roams a wide emotional frontier, from tenderness to ferocity with equal ease. Reaching down to a velvety, growling bass, he was capable of floating the long vowels at the top of his range before biting off the final consonants. Devouring the role, Konieczny is everything opera should be, certainly Wagner’s operatic vision of the Gesamptkunstwerk. On a stageful of dazzling singers, he is also—and perhaps foremost—an actor. Konieczny’s super power is his ability to inhabit and reveal his character from the inside out.

A full-bodied singer/actor, he molds his sound to match and stretch the emotions such that every gesture, musical and physical, is seamlessly integrated. Alternately oozing swagger and bitter defeat, Konieczny’s Wotan articulated Schwarz’s concept in a single, human-all-too-human embodiment. The rage of his Wotan filled the entire hall during the final Walküre. A compelling actor, a ferocious singer, who looks every inch the tortured god—he is exactly what Wagner had in mind.”
Christina Waters
A Struggling Soldier and a Seductive Beauty: Two Tales of Yearning Vienna State Opera Presents `Wozzeck` and `Salome` By ANTHONY TOMMASINI MARCH 2, 2014

(…) Tomasz Konieczny, was excellent, bringing stentorian power and unusual dignity to this prophet, who pays with his life for resisting Salome’s twisted sexual needs and usually comes off as a pompous fanatic (…)

Vienna State Opera's SALOME @ Carnegie March 03, 2014

(…) Tomasz Konieczny was a revelation as Jochanaan. Mr. Konieczny has a voice of exceptional power which he unleashed with unflagging vitality, establishing the character as a vocal bulwark of godliness in a perverse and vulgar world. His thundering condemnations of Herodias sung from offstage built our anticipation for the great dialogue between Salome and the prophet. Once onstage, Mr. Konieczny’s voice seemed to quadruple in amplitude; the louder Maestro Nelsons drove the orchestra, the more powerful the bass-baritone’s voice seemed to become. But the singer was also capable of deeply-felt lyricism, as in the great passage where he tells the princess: „Go seek Him. He is in a boat on the sea of Galilee, and He talketh with His disciples. Kneel down on the shore of the sea, and call unto Him by his name. When he cometh to thee, and to all who call on Him He cometh, bow thyself at His feet and ask of Him the remission of thy sins.“ Mr. Konieczny was so incredibly persuasive here that I thought I might start going to church again. But Jochanaan’s gentle aspect swiftly vanishes as Salome continues to tell him of her lascivious desires for him. In a rage of towering indignation, Jochanaan hurls his final imprecation at her: „Du bist verflucht!“ („You are accursed!“) and here Mr. Konieczny unleashed a final note of staggering power which he then, as the orchestral tidal wave came crashing in, amazingly sustained with a phenomenal crescendo. As he made his exit, I sensed that the audience desperately wanted to burst into applause; of course it didn’t happen, but it should have (…)