Soloist - Baritone
Hubert Zapiór
Im Ensemble der Komischen Oper
Berlin seit 2022.
HEIMAT
Brzesko/Polen
STUDIUM
Uniwersytet Muzyczny Fryderyka Chopina
The Aleksander Zelwerowicz National Academy of Dramatic Art
Artist Diploma in Opera Studies der Juilliard School
Berlin seit 2022.
HEIMAT
Brzesko/Polen
STUDIUM
Uniwersytet Muzyczny Fryderyka Chopina
The Aleksander Zelwerowicz National Academy of Dramatic Art
Artist Diploma in Opera Studies der Juilliard School
WETTBEWERBE/PREISE
The Opera Index Award
Gewinner der Lieder Vocal Competition der Gerda Lissner Foundation und der International Vocal Competition der Giulio Gari Foundation
VORHERIGES ENGAGEMENT
Staatstheater Hannover
WICHTIGE STATIONEN
The Juilliard Opera
Warszawska Opera Kameralna
Opera Wrocławska
Teatr Wielki Opera Narodowa
La Monnaie/De Munt
Den Norske Opera
Bayerische Staatsoper
WICHTIGE PARTIEN ANDERSWO
Titelpartie in Don Giovanni
Figaro (Il barbiere di Siviglia)
Guglielmo (Così fan tutte)
Graf Almaviva (Le nozze di Figaro)
Demetrius (A Midsummer Night’s Dream)
Prosdocimo (Il turco in Italia), Marchese d’Obigny (La traviata)
Papageno (Die Zauberflöte)
Marullo (Rigoletto)
Herr Fluth (Die lustigen Weiber von Windsor)
Neptunus (Hippolyte et Aricie)
The Director of Opera Comique
Giant (Moniuszko à Paris)
Ottokar (Der Freischütz)
polnische Erstaufführungen: Lesbo (Agrippina)
Servo (Luci mie traditrici)
1. Which opera character have you learned the most from (and what)?
I think it must be Eugene Onegin. I became fascinated by the story and Tchaikovsky’s opera quite early in my operatic journey, and I dreamed of singing the role for many years. I even wrote my master’s thesis at the Drama Academy on how Pushkin’s novel became Tchaikovsky’s opera. All those years of waiting and finally arriving at this role on stage last season, certainly taught me patience – and that sometimes fate has a better plan for you, one that ultimately serves you. At least, I choose to believe that.
The character of Onegin himself taught me how crucial timing is in life, even in the smallest decisions we make.
2. What do you sing when no one is listening?
I don’t really sing alone in my spare time and when I do, it’s usually with friends or family. So the only time when truly nobody is listening is when I practice – HA! So the answer is: everything that everyone else will hear once I’m fully prepared and ready.
3. Which profession would you have today if you hadn’t become a singer?
Either something in IT – I love new technologies and all kinds of smart gadgets – or perhaps teaching, as many members of my family are teachers.
Or something involving driving. I love driving. Add to that my enjoyment of meeting new people and having endless conversations, and I suppose… I’d be a taxi driver.
4. Which artistic experience changed everything for you?
I think it happened when I was a teenager, still quite shy about performing. During one of the workshops, I was given a song in which I had to laugh for an extended period of time. It took me many days of rehearsals to break through and produce any kind of genuine laughter. It was a long process of opening up and letting go of my inhibitions, but I will never forget the moment when it finally happened – the feeling of joy, pleasure, and freedom in an honest performance, without stress or fear.
That was a breakthrough moment for me, and the one that made me decide I wanted to be on stage for the rest of my life.
5. What do you do after the performance?
As opera singers, we travel a lot – and I also love driving. So most of the time, I use the post-show adrenaline to drive overnight to another city.
If I don’t have to travel after the performance, I usually have a big meal and then struggle to fall asleep for another five hours.
I think it must be Eugene Onegin. I became fascinated by the story and Tchaikovsky’s opera quite early in my operatic journey, and I dreamed of singing the role for many years. I even wrote my master’s thesis at the Drama Academy on how Pushkin’s novel became Tchaikovsky’s opera. All those years of waiting and finally arriving at this role on stage last season, certainly taught me patience – and that sometimes fate has a better plan for you, one that ultimately serves you. At least, I choose to believe that.
The character of Onegin himself taught me how crucial timing is in life, even in the smallest decisions we make.
2. What do you sing when no one is listening?
I don’t really sing alone in my spare time and when I do, it’s usually with friends or family. So the only time when truly nobody is listening is when I practice – HA! So the answer is: everything that everyone else will hear once I’m fully prepared and ready.
3. Which profession would you have today if you hadn’t become a singer?
Either something in IT – I love new technologies and all kinds of smart gadgets – or perhaps teaching, as many members of my family are teachers.
Or something involving driving. I love driving. Add to that my enjoyment of meeting new people and having endless conversations, and I suppose… I’d be a taxi driver.
4. Which artistic experience changed everything for you?
I think it happened when I was a teenager, still quite shy about performing. During one of the workshops, I was given a song in which I had to laugh for an extended period of time. It took me many days of rehearsals to break through and produce any kind of genuine laughter. It was a long process of opening up and letting go of my inhibitions, but I will never forget the moment when it finally happened – the feeling of joy, pleasure, and freedom in an honest performance, without stress or fear.
That was a breakthrough moment for me, and the one that made me decide I wanted to be on stage for the rest of my life.
5. What do you do after the performance?
As opera singers, we travel a lot – and I also love driving. So most of the time, I use the post-show adrenaline to drive overnight to another city.
If I don’t have to travel after the performance, I usually have a big meal and then struggle to fall asleep for another five hours.