Agnieszka
Rehlis
Mezzo-soprano / alto

Bio

Represented by
Naomi Imai
Artists Administration
naomi@mkimpresari.com
Representation
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Agnieszka Rehlis, recipient of the 2022 Gloria Artis Medal, is internationally recognised for her commanding stage presence and deep affinity with Verdi and 20th-century repertoire. She continues to perform across the world’s leading opera houses and concert venues.

In the 2026–27 season, Agnieszka performs Ulrica Un ballo in maschera at the Edinburgh International Festival, Jezibaba Rusalka at Théâtre du Capitole Toulouse, and La Cieca La Gioconda at The Royal Ballet and Opera.
On the concert stage, she is reinvited by Le Cercle de l'Harmonie and Orfeón Donostiarra to sing in Verdi’s Messa da Requiem at the Philharmonie de Paris, a work that she will also perform with the Malmö Symphony Orchestra. Later in the season, she will tour with Opernhaus Zürich as Waltraute Die Walküre and Götterdämmerung in concert at Philharmonie de Paris and Carnegie Hall. 

In recent seasons, Rehlis has appeared as Azucena Il trovatore at The Royal Ballet and Opera, Staatsoper Berlin and Opernhaus Zürich, and Amneris Aida at the Arena di Verona, Washington National Opera, The Royal Ballet and Opera, Opera Australia, Teatro di San Carlo and the Savonlinna Opera Festival. Other operatic engagements include Lucretia The Rape of Lucretia at Théâtre du Capitole de Toulouse, Brangäne Tristan und Isolde at Teatro de la Maestranza, La Cieca La Gioconda at Osterfestspiele Salzburg, Ulrica Un ballo in maschera at Palau de les Arts Reina Sofía, Lisa The Passenger at the Polish National Opera, the Fortune Teller The Fiery Angel at Teatro Real Madrid, and Ksenia’s nurse Boris Godunov at Teatro alla Scala. 

Her concert highlights include Verdi’s Requiem with the Orchestra and Choir of Opernhaus Zürich at the Philharmonie de Paris, Elbphilharmonie Hamburg, Wiener Konzerthaus, Gasteig HP8 in Munich and the Grand Théâtre de Provence, as well as with the Hungarian State Opera Orchestra at Müpa Budapest; Il trittico in concert with the National Symphony Orchestra at the Kennedy Center and at Carnegie Hall; Szymanowski’s Stabat Mater with the London Philharmonic Orchestra at the Royal Festival Hall and with the Rundfunk Sinfonieorchester Berlin at the Philharmonie Berlin; Rossini’s Stabat Mater at the XXIV Festival Internazionale di Musica e Arte Sacra in Rome; Mahler’s Symphony No. 3 with the Szczecin Philharmonic; and Brahms’s Alto Rhapsody alongside Mozart’s Requiem at the Philharmonie de Paris.
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Press

Il trittico - the National Symphony Orchestra at the Kennedy Center
New York Times
Doing triple duty as La Zia Principessa, La Frugola and Zita, the mezzo-soprano Agnieszka Rehlis explored contralto territory with a sound projecting darkness and clarity
Il trittico - the National Symphony Orchestra at the Kennedy Center
Washington Classical Review
Mezzo-soprano Agnieszka Rehlis showed similar versatility across the three operas, beginning with an imperious Zia Principessa in Suor Angelica. Her bottom notes sounded with heartless force in “Nel silenzio,” when she demanded that her niece give up her inheritance. The brighter side of Rehlis’s extraordinary voice served up light-hearted comic relief as La Frugola in Il tabarro, and she gave satiric bite to the role of Zita, one of the scheming relatives of the not-so-dearly departed in Gianni Schicchi
Messa da Requiem  -  Philharmonie de Paris
Forum Opera
Agnieszka Rehlis delivers a remarkable performance from start to finish. This Verdi mezzo-soprano, whose repertoire includes Amneris, Ulrica and Azucena, possesses a rich, consistent tone right down to the lowest notes. Her voice blends perfectly with that of her partner; together, they treat us to some absolutely magnificent duets, notably a ‘Recordare’ that borders on the sublime
Messa da Requiem  -  Philharmonie de Paris
Brunoserrou.blogspot
A remarkable orchestra, combined with a choir radiating dynamism and cohesion and possessing natural dramatic flair, was joined by a first-rate vocal quartet, led by the dazzling Polish mezzo-soprano Agnieszka Rehlis, with her rich and fiery voice
Zurich Opera - Un Ballo in Maschera
Forum Opera
A beautiful Ulrica. We then move on to the salon of Ulrica, a fortune-teller who gathers her clients (middle-class women in beanbag dresses and feathered hats) around a flickering magic ball (electricity, indeed...). While she, too, wears one of those outfits that are mostly the work of an upholsterer, her long, stringy hair and smoky eyes are enough to make her seem strange. But perhaps most disconcerting of all is the contrast between Agnieszka Rehlis's graceful figure and the contralto colors of her voice. Her invocation “Re dell'abisso”, with its long, shapely lines, in counterpoint with a clarinet in its lowest register, is impressive. Here again, we regret a certain intemperance on the part of the pit, so ideal is this timbre for this whimsical character. Agnieszka Rehlis is also an Azucena, an Amneris, a Brangaene, a mezzo-soprano, but with very dark tremors and easy low notes. She moves about the stage with vivacity, drawing a very amusing new-look magician.
Zurich Opera - Un Ballo in Maschera
Operawire
In the second part of the first act, the entire court, in disguise, visits the tent of Ulrica, the fortune teller whom a prejudiced judge seeks to ban from the colony. Ulrica was portrayed by Agnieszka Rehlis, whose rich, bronzed mezzo-soprano was a true delight. Her voice displayed remarkable uniformity across its entire range, with high notes as well-placed as the deepest ones, complemented by excellent legato and phrasing. The scene, styled as a typical Victorian séance, featured upper-class ladies poised to faint at any hint of the supernatural. Despite her petite stature, Rehlis commanded the stage as a charismatic medium with a striking presence

Discography