« I like young people and working together with young people. They do not have any prejudices or complexes. They accept everything they are taught, like a tree absorbing water. »
« Piotr Beczala, what a sublime singer in every imaginable way, the glorious phrasing, the stentorian power when needed, the sensitive thread of voice he had at the end, not to mention the superidiomatic delivery of the text, EVERYTHING!!!!!!!!!!!!!!!!, he IS the second coming , and never ceases to astonish how ever more gorgeous he becomes with every different role (…)Piotr sounded totally stentorian in Act 1 from where I was, the voice enormous, by end of Act 3 he had reduced the volume to a tenth, and still sounded like singing right in my ear. He really is a miracle of a singer, we do not realize that we have here and now, a historical singer we will be talking about on parterre in 2050, “oh you should have heard Beczala at the Met in the teens” :lolMarshiemarkII (http://parterre.com)Du blog: http://piotr-beczalas-friends.blogspot.com/2014/01/23-january-20014-rusalka-by-antonin.htmlPiotr Beczala was wonderful as the Prince, his tenor elegant and impassioned. Zachary Woolfe(http://www.nytimes.com)
« The Polish tenor Piotr Beczala is splendid as the Prince, strikingly handsome and with a strong voice that is full of passion yet tender in his duets with Fleming. His phrasing of the Czech text is delicate and poetic. » Wilborn Hampton ( http://www.huffingtonpost.com)
Stephan Zucker: Besides concentrating more on dramatic tenor parts, is there anything you would do differently if you had your career to do over again?
- Verdi: Don Carlo – review (guardian.co.uk)
- Get acquainted with the S.F. Opera’s ’11 season scores (sfgate.com)
Je proclame hardiment un principe qui me semble, du reste, tout à fait à la mode : je me déclare partial.
L’impartialité, dans les arts est, comme la raison en amour, le partage des coeurs froids ou faiblement épris.
Mon cœur a froid dans le dos. La lune s’est brouillée avec ses voisins et le ruisseau est trempé jusqu’aux os.
Erick Satie dans la partition de la pièce « Avant-dernières pensées »
La musique de Wagner est meilleure qu’on pouvait le croire en l’écoutant. – Mark Tawain