Aga Mikolaj
Soprano

“…sweet-toned-yet-steel-cored full-bodied lyric voice of absolutely immaculate technical control and simply gorgeous soprano sound: Aga Mikolaj. One to watch, past question.” (Opera Britannia)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Biography

A former member of Munich’s Bayerische Staatsoper, Aga Mikolaj studied with the late Dame Elisabeth Schwarzkopf and built her reputation on Mozart’s leading ladies. Having now amassed a wide and varied repertoire including principal roles by Richard Strauss, Verdi and Wagner, she has gone on to enjoy operatic success throughout Europe as well as in the USA and Japan.

A former member of Munich’s Bayerische Staatsoper, Aga Mikolaj studied with the late Dame Elisabeth Schwarzkopf and built her reputation on Mozart’s leading ladies. Having now amassed a wide and varied repertoire including principal roles by Richard Strauss, Verdi and Wagner, she has gone on to enjoy operatic success throughout Europe as well as in the USA and Japan.

This season Aga returns to the Royal Concertgebouw Orchestra for the world premiere of Detlev Glanert’s Requiem under Markus Stenz, and to The Hague with the Residentie Orkest for Vier letzte lieder conducted by James FeddeckElsewhere Mikolaj sings Beethoven’s Symphony No.9 with the Orchestra Sinfonica Nazionale della Rai under James Conlon, Missa Solemnis underGianluigi Gelmetti with Orchestre Philharmonique de Monte-Carlo and Wesendonck Lieder with Orchestre National de Lyon under Andris Poga.

On stage, Aga Mikolaj returns to the New National Theatre Tokyo as Contessa in Andreas Homoki’s production of Le nozze di Figaro under Constantin Trinks.

Download Bio
uk

Audio

Contacts

Shirley Thomson +44 (0)20 3725 9173
Clare Erskine +44 (0)20 3725 9145

Reviews

“Aga Mikolaj’s lustrous soprano wound, glided and vaulted sinuously through the treacherous music, with marvellous results. Caustic in the choppy phrases, shining and soaring into the lyrical heights, she captured every tint and contour of this magnificent new oratorio.” (Bachtrack, November 2016)

“Vocally the strongest and most versatile woman in the group is Aga Mikolaj's Donna Elvira. Initially driven by the pain and longing for Don Giovanni, baring her strong, multifaceted soprano with irrepressible passion in her proud second act aria.” (elbmargarita.de, June 2016)

“The tone was plush, the colouring dusky while sensitive phrasing pointed to the soprano’s past as a pupil of Elisabeth Schwarzkopf” (The Times, November 2015)

“Aga Mikolaj’s lustrous soprano wound, glided and vaulted sinuously through the treacherous music, with marvellous results. Caustic in the choppy phrases, shining and soaring into the lyrical heights, she captured every tint and contour of this magnificent new oratorio.” (Bachtrack, November 2016)

“Vocally the strongest and most versatile woman in the group is Aga Mikolaj's Donna Elvira. Initially driven by the pain and longing for Don Giovanni, baring her strong, multifaceted soprano with irrepressible passion in her proud second act aria.” (elbmargarita.de, June 2016)

“The tone was plush, the colouring dusky while sensitive phrasing pointed to the soprano’s past as a pupil of Elisabeth Schwarzkopf” (The Times, November 2015)

“Mikolaj is just such a singer. Her tone is warm, rich, and pure; her intonation spot-on. She sings with deep understanding and musical intelligence….her crystalline tone evoking not just a purity of vision but also a sincerity of message.” (Jonathan Blumhofer, Telegram.com, February 2015)

“It’s unusual for sopranos to perform both Strauss and Mahler on a single program as the two composers demand very different things from the singer. But one would have been hard pressed to find a more dexterous performer than Mikolaj. With a voice that is thoroughly rich and gorgeous, she is equally capable of softening her tone without losing its penetrating effect.  Whereas her singing in the Strauss was rich and earthy, she delivered her lines in the Mahler with a light, nimble touch, her upper notes taking on an innocent, boyish quality.” (Aaron Keebaugh, Boston Classical Review, February 2015)

“A Polish-born soprano who's active in opera and concerts throughout Europe, Mikolaj scored a memorable local debut as Elvira, the most complex character in the opera – a vulnerable young woman deeply torn between her love for the faithless Giovanni and her determination to avenge his betrayal of her. Seldom will you hear Elvira's big showpiece aria, "Mi tradi," delivered with such velvety, beautifully sustained tone, secure top register, facility in florid passages and blazing temperament. Chicago deserves to hear more of Mikolaj.” (John von Rhein, Chicago Tribune, August 2014)

"Aga Mikolaj is an excellent Rosalinde, richer and slightly darker in tone than Reiss, but no less impressive in terms of the vocal demands of her part: ‘Klänge der Heimat’ (better known as the ‘Czárdas’) is first-rate, not least because Mikolaj gives the impression of singing it with effortless virtuosity. She’s a terrific singer and a fine stylist." (International Record Review, August 2014)

"The irony is that in its Woglinde, this performance had the most perfect Gutrune and Third Norn – and Sieglinde, and Salome -  imaginable, a really effortless, sweet-toned-yet-steel-cored full-bodied lyric voice of absolutely immaculate technical control and simply gorgeous soprano sound: Aga Mikolaj. One to watch, past question." (Stephen Jay-Taylor, Opera Britannia, July 2013)

"A stunning soprano soloist." (Nigel Simeone, International Record Review, March 2013)

"Aga Mikolaj (Elvira), fearlessly balancing atop fashionista killer heels, sang with color and confidence". (Bloomberg News, May 2012)

"The Polish soprano Aga Mikolaj, sweetly radiant, came to the fore as Goethe's Penitent in the Faust setting." (The Times, May 2010)

"And the passionate Donna Elvira of Aga Mikolaj, the young Polish soprano who people have not stopped talking about." (Opera, February 2008)