Biography
Past Engagements
Debut at the Opéra de Paris Bastille as Skula Prince Igor, at the Staatsoper Stuttgart the title role Boris Godunov, the title character Mefistofele, Mephistopheles Faust, Sparafucile Rigoletto and the Four Villains Les contes d’Hoffmann. At the Teatro Real Madrid, Grand Théâtre de Genève, Staatsoper Stuttgart as Méphistophélès Faust, at the Deutsche Oper am Rhein Düsseldorf and Staatsoper Stuttgart as Alidoro La Cenerentola. Figaro Le Nozze di Figaro at Oper Köln and at the Bolshoi Theater Moscow, Publio La Clemenza di Tito at the Polish National Opera Warsaw, Caronte Orlando paladino at Théâtre du Châtelet Paris, and Colline La bohème at the Deutsche Oper am Rhein Düsseldorf and Staatsoper Stuttgart. At the Glyndebourne Festival as Don Basilio Il barbiere di Siviglia. The bass soloist part in Beethoven’s 9. Symphony with the Stuttgarter Philharmoniker and Beethoven’s Missa Solemnis with the Szczecin Philharmonic*. [*- cancelled]
Upcoming
Filippo II Don Carlo, Oroveso Norma at Staatsoper Stuttgart, Méphistophélès Faust with Canadian Opera Company, Timur Turandot at Gran Teatre del Liceu, Boito’s Mefistofele at Staatsoper Stuttgart and Prague National Theatre, Méphistophélès Faust, Don Basilio Il barbiere di Siviglia and Vodnik Rusalka at Wiener Staatsoper, Verdi’s Requiem with St. Louis Symphony Orchestra, Strawinsky Pulcinella with Stuttgarter Philharmoniker, Count Walter Luisa Miller at Staatsoper Hamburg, return to the Royal Opera House as Timur Turandot.
Previous
Boris Boris Godunov at Teatro alla Scala, Leporello Don Giovanni at Staatsoper Berlin, Méphistophélès Faust at Staatsoper Hamburg, Stuttgart, and Grand Théâtre de Genève, Commendatore Don Giovanni, Timur Turandot at the Royal Opera House, Fafner Das Rheingold, Rodolfo La Sonnambula, Escamillo Carmen, Filippo II Don Carlo at Staatsoper Stuttgart, Timur Turandot at Teatro Real Madrid, Raimondo Lucia di Lammermoor and Skula Prince Igor with Opéra national de Paris, Colline La bohème and Don Basilio Il barbiere di Siviglia at Bayerische Staatsoper, Teatro Real Madrid, Gremin Eugene Onegin at Gran Teatre del Liceu, Commendatore Don Giovanni at Teatro Massimo di Palermo, Alidoro La Cenerentola at Deutsche Oper am Rhein.
Schedule
Past | Upcoming
Gallery
Press
Grand Théâtre de Genève - Faust - Méphistophélès, February 2018
Grand Théâtre de Genève - Faust - Méphistophélès, February 2018
In Faust, the devil always gets the best tunes; in this production, he also got the best voice: as he was for Oper Stuttgart last season, Adam Palka was sensational. Unusually for a bass, his voice is youthful and virile whilst also having immense reserves of power. He could make Méphistophélès impossibly suave and attractive or turn him, in an instant, into a terrifying authoritarian. One normally associates the deep notes of a bass with gravel or velvet: with Palka, they were cold steel.
Stuttgart Opera - Les contes d'Hoffmann - Lindorf / Coppélius / Dapertutto / Miracle
Adam Palka, der mit wunderbar sonorem, trefflich sitzendem und ausdrucksstarkem Bass die vier Gegenspieler Hoffmanns Lindorf, Coppélius, Dr. Mirakel und Dapertutto sang, die er auch ansprechend spielte.
Grand Théâtre de Genève - Faust - Méphistophélès, February 2018
It is simply a permanent joy to listen to him on stage or on record. Endowed with almost colossal, telluric vocal means, the Polish bass Adam Palka makes light work of the role of Mephistopheles in both its evil and almost comical aspects. In fact, he's going too far in several occasions and mishandles the phrasing too often unnecessarily accentuating the vocal or musical intention. His French is not yet too idiomatic, but the artist has vast resources that once channeled a bit, should allow him to count among the main basses of our time.
Rossini - Barbiere di Siviglia - Don Basilio
Visual surprises abounded, including smoke billowing from the cassock of Basilio during his Calumny aria – a louche, funny delivery from promising young bass Adam Palka.
Rossini - Barbiere di Siviglia - Don Basilio
The sonorous tones of Adam Palka as a very youthful and rather Mephistophelean Don Basilio are striking and he relishes all the dynamic and orchestra-mimicking opportunities of ‘La calumnia’.
Rossini - Barbiere di Siviglia - Don Basilio
Adam Palka bellows formidably as Don Basilio
Paris National Opera - Borodin - Prince Igor -Skoula
mais les deux soudards d'Adam Palka et Andrei Popov sont parfaitement appariés, apportant à l'épopée sa touche bouffonne.
Paris National Opera - Borodin - Prince Igor -Skoula
La basse Adam Palka propose une voix large au phrasé percutant tandis
Paris National Opera - Borodin - Prince Igor -Skoula
le ténor Andreï Popov, la basse Adam Palka, sont très bien, laissant entendre que sous leur bonhomie ils pourraient être méchants
Paris National Opera - Borodin - Prince Igor -Skoula
Parfait binôme « Skoula et Iérochka » d’Adam Palka et Andrei Popov, complémentaires et colorés
Paris National Opera - Borodin - Prince Igor -Skoula
Adam Palka und Andrej Popov gestalten sie auch noch gesanglich mit karikaturistischer Unausstehlichkeit – einfach grandios.
Paris National Opera - Borodin - Prince Igor -Skoula
magnifique Adam Palka en Skoula.
Oper Stuttgart - Mussorgski / Newski - Boris - Boris
Das Interesse ist umso größer, als Adam Palka - sein Bass ist um keinen Ausbruch und keine Zartheit verlegen - einen recht jungen und sichtbar vor Kraft strotzenden Potentaten gibt
Oper Stuttgart - Mussorgski / Newski - Boris - Boris
Dies kommt vor allem auch dem fulminanten Boris von Adam Palka zugute, dessen Angstmonolog im zweiten Akt eine grandiose gesangliche Verdichtung erfährt.
Oper Stuttgart - Mussorgski / Newski - Boris - Boris
Adam Palka leiht dem von Skrupeln geplagten Boris seinen tragfähigen Bass und lässt ihn fast wie einen tragischen Held erscheinen, der sich selbst demontiert.
Oper Stuttgart - Mussorgski / Newski - Boris - Boris
überragenden Boris von Adam Palka.
Oper Stuttgart - Mussorgski / Newski - Boris - Boris
Adam Palka gelang mit einem packend emotionalen Bass ein tolles Debüt als Boris.
Gran Teatre del Liceu - Mozart. - Don Giovanni - Il Commendatore
...the bass Adam Palka, whose character appears little but is crucial in the last act, made his deep voice resonate as the statue of the Commander.
Wiener Staatsoper - Gounod - Faust - Mephistopheles
Adam Palka is an excellent Mephistopheles, fully entering into the demonic nature of this version of the character and proving to be menacing in tone and performance.
Wiener Staatsoper - Gounod - Faust - Mephistopheles
In another house debut Adam Palka – who had sung the role in Stuttgart – was an oddly charismatic Méphistophélès given how reptilian, vampiric and demonically intimidating he must be. His resonant bass notes were a thing of wonder given his long and lean physique.
Wiener Staatsoper - Gounod - Faust - Mephistopheles
Bass Adam Palka was a charming Méphistophélès, singing with a dark, cavernous voice, portraying the Devil more like a vampire/voodoo sorcerer. [...] He sang a powerful “Le veau d’or” and blended well with Florez’s voice in their act I duet “A moi, les plaisirs…”.
Gran Teatre del Liceu - Mozart. - Don Giovanni - Il Commendatore
...the bass Adam Palka, whose character appears little but is crucial in the last act, made his deep voice resonate as the statue of the Commander.
Wiener Staatsoper - Gounod - Faust - Mephistopheles
Adam Palka is an excellent Mephistopheles, fully entering into the demonic nature of this version of the character and proving to be menacing in tone and performance.
Wiener Staatsoper - Gounod - Faust - Mephistopheles
In another house debut Adam Palka – who had sung the role in Stuttgart – was an oddly charismatic Méphistophélès given how reptilian, vampiric and demonically intimidating he must be. His resonant bass notes were a thing of wonder given his long and lean physique.
Wiener Staatsoper - Gounod - Faust - Mephistopheles
Bass Adam Palka was a charming Méphistophélès, singing with a dark, cavernous voice, portraying the Devil more like a vampire/voodoo sorcerer. [...] He sang a powerful “Le veau d’or” and blended well with Florez’s voice in their act I duet “A moi, les plaisirs…”.
Wiener Staatsoper - Gounod - Faust - Mephistopheles
Adam Palka is an excellent Mephistopheles, fully entering into the demonic nature of this version of the character and proving to be menacing in tone and performance.
Wiener Staatsoper - Gounod - Faust - Mephistopheles
In another house debut Adam Palka – who had sung the role in Stuttgart – was an oddly charismatic Méphistophélès given how reptilian, vampiric and demonically intimidating he must be. His resonant bass notes were a thing of wonder given his long and lean physique.
Wiener Staatsoper - Gounod - Faust - Mephistopheles
Bass Adam Palka was a charming Méphistophélès, singing with a dark, cavernous voice, portraying the Devil more like a vampire/voodoo sorcerer. [...] He sang a powerful “Le veau d’or” and blended well with Florez’s voice in their act I duet “A moi, les plaisirs…”.
Show More
Recordings
Le Nozze di Figaro
Count Walter
Mephistopheles
I Puritani
Links
Discography
Contacts
Represented by
TACT Artists Management
Alex Grigorev
alex@tact4art.com
+31 647 900 647
Ivana Tanovitski
ivana@tact4art.com
TACT Artists Management
Daniele Antonangeli
daniele@tact4art.com
+393494098437
Ivana Tanovitski
ivana@tact4art.com