Dorota Sobieska, soprano

Reviews

• “Sobieska, singing the title role for the first time in her career, is an impeccable artist with keen awareness of bel canto style. She joined long phrases into meaningful statements and easily floated the florid material... her portrayal was committed and intensely musical.” The review concludes: “the production had its heart in the right place, and Sunday's appreciative audience knew it.”

  Donald Rosenberg on Lucia di Lammermoor The Plain Dealer

• “She possesses a graceful coloratura soprano that negotiated Linda's music with technical aplomb and winsome personality.”

  Donald Rosenberg on Linda di Chamounix The Plain Dealer

• “Dorota Sobieska, as the central character Elvira, negotiated the elaborate coloratura with grace, and attractive flair. She had a lovely uniform vocal quality over the part’s requisite wide melodic span, and conveyed a remarkably expressive range.”

  Robert Rollin on I puritani clevelandclassical.com

• Sobieska “possesses a light lyric soprano that floats in the softest music and travels easily in florid passages… she conveyed the mix of girlish fervor and madness that make Elvira so fascinating.”

  Donald Rosenberg on I puritani The Plain Dealer

• “Dorota Sobieska was exceptional as Elvira, the opera's busiest and most challenging role. She has a lovely light soprano voice. Her seemingly effortless ability to execute the highest and most difficult bel canto passages was matched by a tasteful and sensitive musical interpretation.”

  Robert Rollin on I puritani The Vindicator

• “At the heart of the performance was Sobieska herself, a soprano with a voice of utmost delicacy and beauty who has mastered Bellini style. She was in superb form Saturday as Giulietta, sustaining lines exquisitely and traversing the florid demands with remarkable elegance. What's more, Sobieska revealed the passions that motivate the girl to bestow all of her love on a family enemy.”

  Donald Rosenberg on I Capuleti e i Montecchi The Plain Dealer

• Sobieska “put her silvery soprano, agility and delicacy to affecting use. Bellini’s opera is more a potpourri of vocal showcases than a dramatic enterprise, but Righter and Sobieska managed to depict a touching pair of doomed lovers.”

  Donald Rosenberg on I Capuleti e i Montecchi The Plain Dealer

• “Sobieska's light lyric soprano is so ravishing, her phrasing so fine and her coloratura so right that the character's psychological challenges come beautifully across.”

  Donald Rosenberg on Norma The Plain Dealer

• “Imogene [is] one of those killing soprano parts that requires force, delicacy and agility in equal measure. Dorota Sobieska filled the lyric passages with glowing tenderness and manages the florid lines deftly... the beauty of her singing and the honesty of her portrayal made the character a deeply affecting figure.”

  Donald Rosenberg on Il pirata The Plain Dealer

• “our local Bellinienne Dorota Sobieska, who, in my opinion, has a feel for this composer's style that deserves a wider hearing. Her Elvira and Giulietta were deeply moving and as valid as anything I've heard from the more famous practitioners.”

  Steve Charitan previewing La straniera OPERA-L

• “Sobieska, a beautiful singer with the vocal technique to meet the substantial challenge of the title role... produced glorious tones and performed coloratura passages with extraordinary skill.”

  Wilma Salisbury on La sonnambula The Plain Dealer

• “Sobieska had a triumph in Princess Sais' twisting Act II aria.”

  Donald Rosenberg on Thamos, King of Egypt The Plain Dealer

• “As the Countess, Sobieska revealed firm Mozart credentials in a glowing account of 'Dove sono'.”

  Donald Rosenberg on Le nozze di Figaro The Plain Dealer

• “Dorota Sobieska's golden tones and world-weary persona made the Contessa shine.”

  Linda Eisenstein on Le nozze di Figaro Cool Cleveland

• “Sobieska plays a stellar Konstanze. The demanding nature of this role cannot be underestimated. Sobieska conveys a variety of emotions quite movingly: profound melancholy and staunch resolution in the face of danger—not to mention the joy of traditional happy ending. Her soprano voice flitters with apparent ease through the many difficult passages, coloring each phrase delightfully.”

  Zachary Lewis on The Abduction from the Seraglio Sun Post

• “Sobieska, a tall and slender Polish beauty, sang the abducted heroine Konstanze in a heady soprano that was securely focused in the upper register... she created a convincing and sympathetic character who was willing to die for love.”

  Wilma Salisbury on The Abduction from the Seraglio The Plain Dealer

• Sobieska “not only was the heart and soul of this production, but also sang the role of Aida. It was magical to hear her spun, lyrical soprano sound in the gentle love arias. Her many high notes were unforced and impressive.”

  Pam Hardy on Aida Sun

• “As Aida, Dorota Sobieska had moments of glory, especially in soft, high passages that allowed her delicate soprano to float. Sobieska's innate musicality was evident even in dramatic passages.”

  Donald Rosenberg on Aida The Plain Dealer

• “Aida, as portrayed by soprano Dorota Sobieska, was of a more tender and gentle nature emphasizing the emotional more than the dramatic. Ms. Sobieska relies on a great deal of expressionism in her singing style.”

  J.D. Goddard on Aida clevelandclassical.com

• “The trio [of soloists including Sobieska] sang with graceful assurance and vocal beauty. They savored the finesse of Elsner’s writing even as they maintained a light-hearted sense of interplay.”

  Donald Rosenberg on Echo in the Woods The Plain Dealer

• “Sobieska and Biernacki brought fine vocal and acting values to their roles.”

  Daniel Hathaway on Echo in the Woods clevelandclassical.com

• “Soprano Dorota Sobieska, standing before candles far from the string quartet and clarinet, sang 'Ah! Non credea mirarti' from La sonnambula with soaring vibrancy.”

  Donald Rosenberg on Chopin tribute The Plain Dealer

• “Among the production's striking aspects was Sobieska... who sang the roles of the Sandman and Dew Fairy and danced as one of the guardian angels. Sobieska's soprano sounded lovely and free in her short duties, and she seemed eminently comfortable in Kathryn E. Mihelick's ethereal choreography.”

  Donald Rosenberg on Hansel and Gretel The Plain Dealer

• “The first half concluded with an opera whiff of grand proportions when… Dorota Sobieska appeared on stage, gliding in, unearthly, as tells an authentic diva apart, amazing the audience with her aria from Bellini's Norma.”

  Michal Osiecimski on Carnegie Hall: Zankel Hall Concert Kurier Plus

• “I compliment you on your performance. Your singing was quite lovely, with good phrasing and legato. In addition you were quite poised on stage.”

  Daniel Ferro on Carnegie Hall: Zankel Hall Concert (Bellini, Donizetti, Szymanowski) Message