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KRÓL ROGER
Wuppertal, Wuppertaler Buehnen, Premiera: 14. 06. 2014
"Psychotherapie für Monarchen"
"Der junge polnische Gast- Tenor, Rafa³ Bartmiñski, mit ganz leicht baritonal eingetönter, metalischglänzender Riesenstimme setzt als Hirte Maßstäbe für die Gäste, die dämnächst den Ensemble-losen Wuppertaler Opernbetrieb bewältigen sollen".
Westdeutsche Zeitung – 20. 06. 2014, Stefan Schmöe
"Auf der Couch"
"der Hirte, ein selbsternannter Prophet und großer Verführer – kraftvoll, sehr männlich und strahlend von Rafal Bartminski gesungen und gespielt – zum Alter Ego des zweifelnden Rogers."
Anette Poppenhäger, 24. 06. 2014
"Exemplarische Produktion zum Saisonende"
"trefflich eingestellt und bezaubern ebenso die Solisten, allen voran ein begnadeter mit dem nötigen Charisma versehener Rafal Bartminski als Hirte/Dionysos; des Weiteren sing man durchweg, um im aktuellen Zeitgeist (Fußball –WM) zu sprechen, weltmeisterlich."
Peter Bilsing, 15. 6. 14
"Ein Rausch in Musik und Bildern"
"Gastsänger Rafal Bartminski, der mit tragfähigem Tenor den Hirten gibt. (…)Bartminski kann ebenso seine Stimme schmeichelnd klingen wie zornig wüten lassen. So verführt er das Volk, den König und dessen Frau Roxane."
Weronika Pantel, 2014-07-05
"Selbstfindung im Spiegelkabinett"
"Für die Partie des Hirten ist Rafal Bartminski verpflichtet worden, der der Partie mit seinem strahlenden und flexiblen Tenor nicht nur stimmlichen Glanz verleiht, sondern auch optisch der Partie als Verführer mehr als gerecht wird. So wird nachvollziehbar, wie dieser Hirte die Menschen, Männer und Frauen, in seinen Bann zu ziehen vermag. Während er als strahlende Erscheinung in den ersten beiden Akten dominiert, versteht Bartminski es sehr gut, sich im dritten Akt zurückzunehmen, und damit die Selbstfindung des Königs glaubhaft zu machen."
Wuppertaler Bühnen Homepage, Thomas Molke
"Wuppertal: Krol Roger von Karol Szymanowski. Premiere"
"Den Hirten gibt Rafal Bartminski a. G. dessen tenorales Potential dem lyrischen Fach bereits entwachsen scheint, was aber keine Einschränkung von melodischer Sensibilität bedeutet."
Online Merker, 15. Juni 2014, Christof Zimmermann
"Der König wird endlich Mensch"
"Der Hirte,(…) grandios gesungen von dem jungen polnischen Tenor Rafal Bartminski, bringt das Chaos in König Rogers Leben. Er ist zunächst der neue Prophet, der Liebe predigt, wandelt sich aber zum Demagogen, dem die Massen willenlos folgen.
Hier spürt man die Gefahr totalitärer Systeme, die der Komponist Ende der 20 Jahre sicher wahrgenommen hat."
Juni 2014, Weronika Pantel
HALKA
Warsaw
Stürmischer Beifall dagegen für den Helden des Abends, den 1977 geborenen Rafal Bartminski, der den Jontek aus vollem Herzen sich verströmen ließ und nicht nur die Paradearie ‚Szumia jodly na gor szczycie‘ (‚Rauschen hör ich Tannen leise‘) mit Schmelz ausmalte.
Martin Morgenstern, Opernwelt, März 2012
Best of all (and not for the first time, after his strong showing in Statkowski’s Maria at Wexford), the tenor Rafal Bartminski applied easy, ringing tone to Jontek, singing with an appealing mixture of lyricism and heft. His Act 3 lament was a highlight, though his acting still needs work. Were that to be addressed, this tall and handsome tenor could command any stage.
John Allison, Opera, March 2012
MARIA
Wexford Festival Opera
[...] the tall and handsome young Polish tenor Rafal Bartminski as Waclaw, with a ringing Vickers-like top register and an innate musicality at all levels.
Richard B. Beams, Opera con Brio, Winter 2012
The most imposing voice and presence of the whole festival was the giant young tenor Rafal Bartminski, who took the role of Maria’s powerfully connected husband, Waclaw.
Tom Sutcliffe, Opera Now, 03/2012
Waclaw was the young tenor Rafal Bartminski: a ringing, fearless top register, liquid tone lower down and admirable music instincts. He is also tall and handsome, and will surely be much in demand after this.
Rodney Milnes, Opera, January 2012
[...] und dem baritonal eingedunkelten Tenor Rafal Bartminski als Waclaw, eine herrliche, farbige, frei strömende Stimme.
Albrecht Thiemann, Opernwelt, 12/2011
The wonderful Polish tenor Rafal Bartminski excelled as the heroic but unfortunate Waclaw.
Jessica Duchen, The Independent, 11.11.2011
As her love interest, the hapless Count’s son Waclaw, tenor Rafal Bartminksi was giving ‘the’ performance of this or many another festival. Tall and lanky with a youthful face and moppet of sandy hair, he didn’t so much impersonate as become the unlucky loser. When Mr. Bartminski sang with melting beauty and caressed a phrase, you pegged him as a pre-eminent Mozartean. Then when he pinned you in your seat with an orchestra-riding, Vickers-like Heldentenor B-flat, you thought (as the goose bumps rise): where the hell could that have come from? His technique seems secure, his production free, his forte passages unforced, his sense of arching line well judged, his stamina amazing. If he keeps it all together, this is a major talent.
James Sohre, Opera today, 5.11.1011
The outstanding member of the cast is Rafal Bartminski as Waclaw, plangent in his soft singing and thrilling at the top.
John Allison, The Telegraph, 31.10.2011
But it gave us superb singing from the towering young tenor Rafal Bartminski as Maria's downmarket husband Waclaw...
Tom Sutcliffe, The Spectator, 29.10.2011
Star des Abends ist der Tenor Rafa³ Bartminski, der die Partie des Wac³aw mit nicht enden wollenden Kraftreserven ausstattet. Dabei wirkt seine Stimme auch in den Höhen stets leicht. Mit großer Dramatik gestaltet er den jungen Träumer bis zum finalen Selbstmord und erntet den größten Applaus des Abends.
Thomas Molke, Online Musik Magazin, 28.10.2011
There was little subtlety in the acting and, although the ensembles gave Wexford’s new festival chorus a chance to shine, no one came out of it well – except the commanding tenor of Rafal Bartminski and the conductor, Tomasz Tokarczyk.
Andrew Clark, Financial Times, 28.10.2011
…Polish tenor Rafal Bartminski is a powerhouse of thrilling vocal ardency, firing the music with a personal passion that the rest of the cast don’t rival.
Michael Dervan, The Irish Times, 27.10.2011
Memorable in the central roles are Daria Masiero, Rafal Bartminski, Adam Kruszewski and Krzysztof Szumanski, with tenor Bartminski a particularly exciting find.
George Hall, The Stage, 25.10.2011
...Waclaw – the superbly heroic tenor Rafal Bartminski...
Pat O’Kelly, The Irish Independent, 24.10.2011
SZYMANOWSKI - 3rd Symphony
/Munich/ Symphonieorchester des Bayerischen
Rundfunks conducted by Mariss Jansons
With musical voluptuousness and an unusually full, generous sound,
Jansons, the BRSO, the Bavarian Radio Choir, and Rafa³ Bartmiñski
delivered a highly engaged and engaging performance.
Jens F Laurson
MusicWeb International's Worldwide Concert and Opera Reviews
THE HAUNTED MANOR
Among the soloists of the Wroc³aw production the greatest applause was given to a guest star Rafa³ Bartmiñski as Stefan.
Magdalena Talik, www.kulturaonline.pl, 10 III 2009
The vocal heroes of this premiere were Rafa³ Bartmiñski (Stefan) and Aleksandra Kubas (Hanna). They both presented the highest level of performance and great singing traditions. Bartmiñski owns a strong and interesting tenor. His interpretation of Stefan needs to be recognized. He beautifully sang the „Matko moja mi³a” aria.
Maciej Micha³kowski, PiK, 9 III 2009
DON GIOVANNI
Rafa³ Bartmiñski was definitely spectacular Don Ottavio – this shy and clumsy addition to Donna Anna is constantly carrying her bag and finally dresses himself as a woman.
Joanna Targoñ, Gazeta Wyborcza, II 2009
(…)Rafa³ Bartmiñski sounded extremely well as Don Ottavio. His conscientiousness for each sound, constant control of voice and beautifully drawn phrase were especially enchanting in the "Dalia sua pace" aria.
Daniel Cichy, Tygodnik powszechny, 5 III 2009
FALSTAFF
Listening to Katarzyna Trylnik and Rafa³ Bartmiñski was quite pleasurable. They sang parts of Nanneta and Fenton in love beautifully. It is another successful role in Bartmiñski’s career.
Alina Ert –Eberdt, Twoja Muza 5/2007
L’ ELISIR D’AMORE
Rafa³ Bartmiñski proved himself in the role of Nemorino. He sang with a tenor of a beautiful timbre which did not lose any power throughout the performance including the spectacular aria from the 2nd act "Una furtiva lagrima".
Magdalena Talik, Polska Gazeta Wroc³awska 27 I 2009
Young singers turned out to be true heroes of the evening: Iwona Handzlik and Rafa³ Bartmiñski. They both created interesting vocal and acting parts. (…) He performed the part of Nemorino and his beautiful voice and stylish leading pf phrase was as impressive as his discrete acting.
Adam Czopek, Nasz Dziennik 18 VI 2007
There were great acting and vocal performances by Iwona Handzlik as Adina and Rafa³ Bartmiñski as Nemorino.
Stefan Drajewski, G³os Wielkopolski nr 140, 21 VI 2007
DIE ZAUBERFLÖTE
The young tenor, Rafa³ Bartmiñski performed part of Tamino breathtakingly with a great effortlessness of voice but with full expression of the style and character of Mozart’s music.
Marta Gargas, Trubadur 4/2006
JENUFA
(…) young Rafa³ Bartmiñski gave expressive performance of the part of unfaithful Steva.
Jacek Marczyñski, Rzeczpospolita 2 VI 2004
There were well trained and sound voices at Warsaw scene (especially young ones: Marta Wy³omañska as Jenufa, Rafa³ Bartmiñski as ¦teva, Monika Ledzion as Karolka).
Tomasz Cyz, Tygodnik Powszechny 30 V 2004
ONEGIN
Rafa³ Bartmiñski was the star of the evening. He is known to some music lovers from the Moniuszko Competition and a student performance in Oniegin in M³ynarski Hall of TW. He has been gifted with a tenor of taher dark timbre and did very well as Lenski.
Katarzyna K. Gardzina, Trubadur 2/2002
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