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Michael Sherwin wrote the following in June, 2010:...Although Dubois’ score allows the substitution of a tenor soloist for the soprano, upon hearing Ms. Knapik’s performance it was impossible to think of her solo being sung by any voice other than hers, due to her tonal variety and contrast with the baritone soloist, as well as the spirituality she imparted to her solos. Ms. Knapik sang with a vulnerable, feminine quality; her bright and vibrant voice soaring to the highest reaches of Carnegie Hall. The supplicating quality she achieved throughout the Mass was particularly memorable.... Click to read the complete article. |
"Bravissima Maria" by David Williams, published in National Capital Opera Society Spring, 2007Ottawa's own Diva, Maria Knapik, made a sensational Sarasota Opera debut in the Polish opera Halka ...Maria was outstanding, as if Moniuszko had written the role for her. She was able to portray all aspects of Halka's character, from happiness to despair, both vocally and visually. The audience was captivated by her performance... Click to read the article. |
Lawrence A. Johnson, The Miami Herald on March 7, 2007 wrote:...Maria Knapik made an extraordinary company debut in the title role. The Polish soprano has the vocal power and idiomatic way with the native melodies, singing with pure tone and vital feeling. Knapik put across the character's yearning, heartbreak and anger vividly, with a subtle psychological depth and compelling acting. Even when forlorn and bedraggled, the soprano exudes a charismatic star quality and radiant stage presence.... Click to read the complete article. |
John Fleming, Open News Online on February 25, 2007 wrote:...The title role is a mighty feat for a soprano, and it was given a powerful, deeply affecting portrayal by the only native Pole among the cast's principals, Maria Knapik. The soprano, who now lives in Canada, found a passionate identification with the character, yielding a performance that deserves to be called definitive. Vocally, the role is sometimes compared with Violetta in La Traviata — and for good reason, as it ranges widely. Knapik handled the demands well, from light soubrette-style singing to heavy drama to soaring coloratura. A prayerful aria of forgiveness in Act IV, which she delivered kneeling outside a country church, was emotionally riveting... Click to read the complete article. |
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