In December 2020, Anna Malesza-Kutny made debut at Oper Köln followed in Korngold’s Die tote Stadt, where she is covering Contessa Almaviva in the revival of Mozart’s Le nozze di Figaro. During the 2020/2021 season, the soprano will return to Staatsoper Unter den Linden in Berlin for Mozart’s Idomeneo and a revival of Widmann’s Babylon. She made her company debut at Staatsoper Unter den Linden in 2019, creating the part of Septette in the world premiere of Widmann’s Babylon.
As Fiordiligi in Mozart’s Così fan tutte, the Polish soprano made her debut at Opera na Zamku w Szczecin in January 2020. Anna Malesza-Kutny made her role debut as Fiordiligi with Kammeroper München during the 2018/2019 season and returned for further performances at Munich’s Cuvilliestheater the following season, as well as in spring 2021.
In 2019, Anna Malesza-Kutny performed Hanna in Moniuszko’s The Haunted Manor atOpera Nova in Bydgoszcz. She made her operatic debut in 2015, singing Contessa Almaviva in Mozart’s Le nozze di Figaro and was a guest as Alcest in Mateja’s chamber opera for children Le Petit Nicolas et les copains at Teatr Wielki w Poznaniu. She worked with producers Tatjana Gürbaca, Andreas Kriegenburg, David McVicar and Beka Savić.
Anna Malesza-Kutny performed with several orchestras in Poland, besides, she was accompanied by Göttinger Symphonieorchester, Gürzenich-Orchester Köln, Sinfornia Varsovia Orchester, Symphonieorchester RTE at Internationalen Concert Hall in Dublin, Toruńska Orkiestra Symfoniczna. She performed at the Polish opera companies including Teatr Wielki w Poznaniu, Teatr Wielki-Opera Narodowa Warszawa and Opera na Zamku w Szczecin. She performed under the baton of conductors including Thomas Guggeis, Sir Simon Rattle, Julien Salemkour, Nabil Shehata, Christopher Ward.
This biography is for information only and should not be reproduced. © Artistainternational, February 2021.
Three questions to Anna Malesza-Kutny:
A composer: I can’t answer unequivocally, it depends on the day, the mood … One day it’s Mozart, the next day Stravinsky, Szymanowski, then Rachmaninov etc. I love many of them!
What was your calling to become a singer? When I was a violinist (before I started to sing) I always felt the need to express myself, not only with music. I fell in love with the theatre at first sight, and it remains that way.
To be a singer – in three words: Work a lot but not too much, distance yourself, distance yourself from the world.
