Jakub JózefOrliński

Press

• Semele

  Munich Opera Festival

  Jul 2023

  • Jakub Jozef Orlinski, the countertenor in the role of Athamas, is also a breakdancer, which Guth spotlights when his character desperately attempts to entertain Semele. Charismatic and handsome, Orlinski stopped the show with the applause his dance earned. But more enchanting was the purity of his sound — sublimely crystalline in “Come, Zephyrs, come” — which blended warmly with the lower end of Athamas’s altolike tessitura.

    • New York Times
    • 16 July 2023

• Orfeo ed Euridice

  San Francisco Opera

  Nov 2022

  • The brilliant Polish countertenor, Jakub Józef Orlínski, was almost more than superlative. It was easy to become mesmerized by the performance: there were no intermissions for nearly 90 minutes. His voice is creamy, dynamic, resonant, and with remarkable range. It was hard not to try to hang on every note, each so rich and beautiful in its own right. In addition to this, he sang the whole work with great immediacy. We felt his grief and his disorientation through every stage of its evolution. Hearing and witnessing it, we remained entirely under his spell.

    • Opera Wire
    • 29 November 2022

  • Ozawa’s production features Polish countertenor Jacub Jósef Orlinski, in a physically and psychologically complex presentation of the work. Orlinski displayed a beautiful countertenor, exhibiting both power and expressiveness. He performed Gluck’s most famous aria, Che farò senza Euridice, with such elegance that it was the vocal highlight of the performance.

    • Opera Warhorses
    • 20 November 2021

• Beyond Tour

  North America

  Apr 2024

  • Bing Concert Hall, Stanford: This recital was truly a remarkable achievement for both Orlinski and the members of il Pomo d’Oro, a collaborative effort that was marked by high levels of showmanship, respect, and dedication to the lost art.

    • Parterre box
    • 19 April 2024

  • Berkley: His clarion sound and liquidity of voice produce a focused alto that can describe the curlicues of Baroque coloratura with deadeye accuracy and caress the beauty of long melodic lines.

    • Seen and Heard International
    • 12 April 2024

• Tolomeo

  Teatro Real

  May 2023

  • Orliński emocionó tanto al público como a la crítica como Tolomeo en el Händel-Festspiele Karlsruhe de 2020. El Süddeutsche Zeitung lo calificó como un «evento» y comparó su habilidad vocal con la de los castratos para los que Handel compuso originalmente sus partes masculinas. Orlinski admira por el equilibrio entre las coloraturas y las delicadezas de los momentos más íntimos, como su falsa muerte. [TRANSLATED] Orliński thrilled audiences and critics alike as Tolomeo at the 2020 Händel-Festspiele Karlsruhe . The Süddeutsche Zeitung called it an "event" and compared his vocal ability to that of the castratos for whom Handel originally composed his male parts. Orlinski admires the balance between the coloraturas and the delicacies of the most intimate moments , such as his false death.

    • Beckmesser
    • 25 April 2023

• BBC Proms - BEYOND with Il Pomo d'Oro

  Royal Albert Hall, London

  Jul 2024

  • Over an hour-and-a-half, the irresistibly likable Polish countertenor ran the gamut from A to Z, embodying pining lovers, men on the verge, and one of those comical cross-dressing old ladies with which baroque opera abounds. The voice was in magnificent shape, firm, flexible and easily ample enough to fill the cavernous space. The acting, across an unbroken dozen musical numbers, was bold and winning. Costumes, lighting, and yes, a burst of his trademark breakdancing, were all part of a generous mix that roamed across 17th-century Italy and beyond. Orchestral contributions were tight and tangy. In a word, stellar.

    • The Guardian